« Overall homogeneous and of high quality, the stage was however largely dominated by the incandescent Orlofsky by Marina Viotti : The copper colors of the insolently beautiful and perfectly projected voice of the mezzo-soprano, mixed with her theatrical performance captivated…
https://www.codalario.com/critica/criticas/critica-los-cuentos-de-hoffmann-de-offenbach-en-el-teatro-del-liceo-de-barcelona_9630_5_30109_0_1_in.html “mezzo-soprano Marina Viotti was the sensation of the night. As usual, while Nicklausse, Viotti also assumed the part of the muse, the first character to appear in the entire opera. The irruption of Viotti as that muse that comes…
“Marina Viotti lives her character with rare intensity. We know the singer’s eclecticism, as at home in bel canto as in lied, melody, French opera, song, jazz or … metal! But that during a single evening, the same performer passes…
“Marina Viotti is increasingly asserting herself as an exceptional talent (after notably her Rosina and her Olga, both at the OnR last year). Her dark voice is lightened with flexibility and shines with all his brilliance in the high notes,…
https://www.luzernerzeitung.ch/kultur/revolte-in-der-konigsloge-ld.1111052 Heaven and hell pass through Marina Viotti in the emotionally exposed, sadly primed title role. How she flared fears, anger, exuberance and grief on all sides with her lithe and luminous voice remained a class of its own. And…
The jewel of this cast is Marina Viotti as Arsace. Her musical intelligence is one of the real assets of this recording, in a role that involves each extremes of the tessitura. Opéra Magazine This time you have Arsace, originally…
“Feodor is Marina Viotti, particularly welcome, fresh, lively, which perfectly renders the character, caught between the immaturity of his young age and the seriousness of a Tsarevich’s position. Flawless singing.” http://wanderersite.com/2018/11/boris-godounov-en-version-plus-intimiste-tres-reussi-a-geneve/ “Marina Viotti makes a strong impression in Feodor,…
Some reviews of my debut as Rosina. Lucky me to have had the chance to be part of such a beautiful production ! https://www.olyrix.com/articles/production/2344/le-barbier-de-seville-opera-national-rhin-strasbourg-barbiere-siviglia-rossini-rousseau-gamba-gentner-hotea-kosavic-viotti-lepore-galeazzi-bauza-mostovoi-18-septembre-2018-choeurs-orchestre-symphonique-mulhouse-nouvelle-production-critique-chronique-compt As for Marina Viotti, she continues to confirm the many hopes placed in…
cover photo : Klara Beck “The warm and very personal vocal color, with copperly lows, never excessively “chested”, from the excellent Marina Viotti” https://www.olyrix.com/articles/production/2152/eugene-oneguine-tchaikovski-opera-national-rhin-strasbourg-16-juin-2018-article-critique-chronique-compte-rendu-letonja-walker-vartan-piccioli-baciu-morozova-viotti-avetisyan-kazakov-lamprecht-nekrasova-ragon-idis-choeurs-orchestre-philharmonique “With her deep lows and the warmth of her voice color, Marina Viotti seizes the…
Le Monde : Second rôle également, et tout aussi convaincant, sinon plus, la Marthe de Marina Viotti. La mezzo suisse ne manque ni d’abattage ni de sex-appeal, bien loin des dames patronnesses qui tiennent habituellement ce rôle de coquette sur…
Mezzo soprano. Marina was born in Switzerland, her parents both being musicians, and grew up in France. Curious by nature, she did not only study classical music (flute), but also explored jazz, metal or chanson.
Marina is represented by Hilbert Artist Management (krause@hilbert.de)