Mezzo Mozart Marina Viotti, Gli Angeli Genève, Stephan MacLeod

• Wolfgang Amadeus Mozart (1756 - 1791): Cosi fan tutte, K. 588:
• 1Mozart: Cosi fan tutte, K. 588: Ah, scostati (Dorabella)01:06
• 2Mozart: Cosi fan tutte, K. 588: Smanie implacabili (Dorabella)01:48
• Ch'io mi scordi di te, K. 505:
• 3Mozart: Ch'io mi scordi di te, K. 505: Ch'io mi scordi di te02:11
• 4Mozart: Ch'io mi scordi di te, K. 505: Non temer, amato bene07:58
• Le nozze di Figaro, K. 492:
• 5Mozart: Le nozze di Figaro, K. 492: Giunse alfin il momento (Susanna)01:13
• 6Mozart: Le nozze di Figaro, K. 492: Deh vieni, non tardar (Susanna)03:13
• Mitridate, Re di Ponto, K. 87:
• 7Mozart: Mitridate, Re di Ponto, K. 87: Venga pur, minacci e frema (Farnace)06:37
• Ascanio in Alba, K. 111:
• 8Mozart: Ascanio in Alba, K. 111: Perchè tacer degg'io? (Ascanio)05:00
• 9Mozart: Ascanio in Alba, K. 111: Cara, lontano ancora (Ascanio)04:30
• Exsultate, jubilate, K. 165:
• 10Mozart: Exsultate, jubilate, K. 165: I. Allegro. Exsultate, jubilate04:26
• 11Mozart: Exsultate, jubilate, K. 165: II. Recitativo secco. Fulget amica dies00:48
• 12Mozart: Exsultate, jubilate, K. 165: III. Andante. Tu virginum corona05:41
• 13Mozart: Exsultate, jubilate, K. 165: IV. Allegro. Alleluja, alleluja02:38
• Le nozze di Figaro, K. 492:
• 14Mozart: Le nozze di Figaro, K. 492: Voi che sapete (Cherubino)02:54
• La finta giardiniera, K. 196:
• 15Mozart: La finta giardiniera, K. 196: Va' pure ad altri in braccio (Ramiro)03:25
• La clemenza di Tito, K. 621:
• 16Mozart: La clemenza di Tito, K. 621: Parto, ma tu ben mio (Sesto)06:06
• Mass in C Minor, K. 427:
• 17Mozart: Mass in C Minor, K. 427: Laudamus te04:43
• Total Runtime01:04:17

Info for Mezzo Mozart

And Mozart created the mezzo? In Mozart’s day, the vocal typologies that we know today were yet to be established. Women were sopranos, castrati were castrati, and Mozart wrote for personalities and vocal colours rather than for abstract voice types. Providing we set aside the labels that are used nowadays, a female singer can cover a whole range of expressive and dramatic possibilities in Mozart’s works, and take on the roles of many different characters, including those belonging to the rich repertoire that Mozart bestowed on castrato voices.

With the help of Stephan MacLeod, at the helm of his ensemble Gli Angeli Genève, Marina Viotti has put together a programme that embraces the diversity and versatility of Mozart’s vocalism.

Marina Viotti, mezzo-soprano
Gli Angeli Genève
Stephan MacLeod, conductor
Sebastian Wienand, piano

Marina Viotti
“A real personality, an artist through and through” (Nuances magazine).

In April 2019 Marina Viotti was awarded the “Best Young Singer of the year” at the prestigious International Opera Awards in London. She also won the 3rd prize at the “Concours de Genève” in 2016, and the International Belcanto Prize at the Rossini Festival in Wildbad in 2015.

After studying flute, Marina Viotti first experimented with jazz, gospel and heavy metal. She got a master’s degree in philosophy and literature, before she began her vocal training with Heidi Brunner in Vienna and continued at the Lausanne University of Music in the class of Brigitte Balleys. She completed her studies with a diploma as a soloist and studied Belcanto with Raul Gimenez and Alessandra Rossi.

Marina Viotti’s first steps on the operatic stage after her studies took her to the Lausanne Opera, the Lucerne Theatre and, as part of the young ensemble, to the Grand Théâtre de Genève. She made her debut as Isabella (L’italiana in Algeri) at the Rossini Festival in Bad Wildbad in 2015.

Since then, she sang roles roles like Olga (Onegin) and Bradamante (Alcina) in Opera du Rhin, Elisabetta (Maria Stuarda) and Isabella in Lucerne, Rosina (Barbiere) at the Bolshoi and in Dresden, Melibea (Viaggio a Reims) in Valencia and at the Liceu, where she also debuted Nicklausse/Muse (Hoffman Tales) last season. In 2021-22, she made her debut as Dorabella (Cosi) in a new production at the Staatsoper Berlin under the direction of Barenboim, and will sing her first Cherubino (Nozze) there later this season. Marina will also come back to la Scala, this time singing Maddalena (Rigoletto), a role she sang already in Zürich and Münich Staatsoper. Further debuts include Orlovsky (Fledermaus) in Firenze Maggio Musicale, Arsace (Semiramide) in Lausanne, and Alceste (title role) in Roma.

Marina Viotti is a sought-after concert singer. Her concert repertoire includes among others: Mozart C Messe, The Seven last Words of our Saviour (Haydn), Beethoven’s Mass in D Major and Symphony No. 9, Kindertotenlieder (Mahler), Der Rose Pilgerfahrt (Schumann), La petite messe solennelle (Rossini), Verdi’s Requiem, El amor Brujo (De Falla), Le Poème de l’amour et de la mer (Chausson), under the baton of maestro Corboz, maestro Dudamel, or maestro De Billy, to name but a few.

Moreover, Marina Viotti is regularly invited to festivals all over the world, to present her very uniquerecital/shows such as “Love has no borders” (voice, piano, sax and contrebasse), “Porque existe otro querer” (duo voice/guitar) or “About last night”(cabaret).

Booklet for Mezzo Mozart