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Review

Guillaume Tell / The Metropolitan Opera

Princess Mathilde was the excellent Marina Rebeka ...

… whose performance improved with the advance of the night after a beautiful initial “Sombre forest” and who claimed the seduction and intention of the French style of a Crespin or Caballé.”

{La princesa Mathilde fue la excelente Marina Rebeka, cuyo rendimiento mejoró con el avance de la noche después de un bello Sombre foret inicial que reclamó la seducción e intención del estilo francés de una Crespin o Caballé.}

Read the entire review via el Nuevo Herald

There is a substantial soprano role, Mathilde, which has a well-known aria, “Sombre forêt.” Mathilde was portrayed by Marina Rebeka … she was sweet, strong, and flexible.

“Sombre forêt” features, or imposes, long, long breaths, as in “Porgi, amor” (from Mozart’s Marriage of Figaro). Rebeka had no problem with them. And she floated some lovely high notes. Later, she demonstrated some regal coloratura … she was confident and secure. And the higher she went, the more beautiful her voice sounded.”

– The New Criterion

“John Osborn and Marina Rebeka deliver gorgeous duets and solos as the prerequisite star-crossed lovers.”

-Cultural Weekly

“Marina Rebeka was a lovely Princess Mathilde, with a perfect handling of Rossini coloratura runs and, adorning with the beauty of her voice, and her presence, the Met stage, without failing to convey the evolution of the character with acting and musicality.”

{Marina Rebeka è stata una principessa Mathilde incantevole, con una gestione perfetta di roulades e colorature rossiniane, adornando con la bellezza della sua voce, e della sua presenza, la scena del Met, senza mancare di trasmettere l’evoluzione del personaggio con la recitazione e la musicalità.}

Read the entire feature via L’Ape musicale

“The Austrian Princess Mathilde was the excellent Marina Rebeka, whose performance improved with the advance of the night after first a beautiful Sombre foret which claimed the urgency and intention of the French style of a Crespin or in any case, Caballé.”

{La princesa austríaca Mathilde fue la excelente Marina Rebeka, cuyo rendimiento mejoró con el avance de la noche después de un bello Sombre foret inicial que reclamó la urgencia e intención del estilo francés de una Crespin o en todo caso, Caballé.}

-Miami Clasica

“The astonishing soprano Marina Rebeka (Mathilde) received several minutes of applause and ovation at the curtain call. Rebeka is perfectly matched by tenor Bryan Hymel (Arnold); their duets are heartbreaking.”

-Hyperallergic

“Rebeka mixes a clean, good-girl timbre with weightless technique and vulnerability. Her fitful Met career began five years ago with a secondary role in Don Giovanni; I hope by now the company realizes it’s been incubating a star.”

-Vulture

“The soprano Marina Rebeka is perfect for the role of Mathilde, delivering an exquisite rendition of “Sombre foret” …”

-The Epoch Times

“Soprano Marina Rebeka brought a cool, silvery elegance and clean coloratura to Mathilde, Arnold’s beloved …”

-The Wall Street Journal

“The soprano Marina Rebeka’s plush, ardent sound is ideal for Mathilde … She makes every note count in the dizzying vocal roulades, giving dramatic point to the passagework and suggesting the vulnerability and confusion of a young woman who has fallen for an enemy and come to realize the inhuman oppressiveness of her own people.”

Read the entire review via The New York Times