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Recordings

Mozart: La Clemenza di Tito

This is an opera in two Acts with Music by Wolfgang Amadeus Mozart and a Libretto by Caterino Mazzolà.
The Performance was recorded during two concerts at the Festspielhaus Baden-Baden in July 2017 with Marina Rebeka as Vitellia, Rolando VIllazón as Tito and Joyce DiDonato as Sesto under the baton of Yannick Nézet-Séguin conducting the Chamber Orchestra of Europe.

CD 1:

Act 1

1. Overture 4:52
2. “Ma che? sempre l’istesso” 3:42
3. “Come ti piace imponi” 2:34
4. “Amico, il passo affretta” 2:13
5. “Deh se piacer mi vuoi” 5:15
6. “Amico, ecco il momento” 0:38
7. “Deh prendi un dolce amplesso” 1:01
8. Marcia 1:42
9. “Serbate, oh Dei custodi” 1:42
10. “Te della patria il Padre” – “Basta, basta, oh miei fidi” 2:39
11. Marcia Reprise 0:59
12. “Adesso, oh Sesto, parla per me” 3:31
13. “Del più sublime” 3:20
14. “Non ci pentiam” 1:52
15. “Ah perdona al primo affetto” 3:08
16. “Che mi rechi in quel foglio?” 0:54
17. “Di Tito al piè” 2:33
18. “Ah, se fosse intorno al trono” 2:16
19. “Felice me!” – “Ancora mi schernisce?” 4:44
20. “Parto, ma tu ben mio” 6:39
21. “Vedrai, Tito, vedrai” 0:47
22. “Vengo… aspettate… Sesto!…” 2:12
23. “Oh Dei, che smania è questa” 3:23
24. “Deh conservate, oh Dei” – “Sesto!” 2:51
25. “Sesto!” – Andante 3:41

 

CD 2:

Act 2

1. “Sesto, come tu credi” 2:04
2. “Torna di Tito” 2:26
3. “Partir deggio, o restar?” 0:51
4. “Sesto! – Che chiedi?” 0:58
5. “Se al volto mai ti senti” 4:56
6. “Ah, grazie si rendano” – “È tutto colà d’intorno” 3:19
7. “Già de’ pubblici giuochi” 2:03
8. “Tardi s’avvede” 1:32
9. “No, così scellerato” 0:31
10. “Cesare, nol diss’io” 0:56
11. “Tu fosti tradito” 3:08
12. “Che orror! che tradimento!” – “Ingrato!” 2:40
13. “Quello di Tito è il volto!” – “Odimi, oh Sesto” 3:20
14. “Eppur mi fa pietà” 5:43
15. “Deh per questo istante solo” 6:51
16. “Ove s’intese mai” 2:00
17. “Se all’impero” 4:54
18. “Publio, ascolta!” 0:30
19. “Ah, Vitellia” 1:40
20. “S’altro che lagrime” 2:15
21. “Ecco il punto, oh Vitellia” 2:10
22. “Non più di fiori” 7:07
23. “Che del ciel, che degli Dei” 1:36
24. “Sesto, de’ tuoi delitti” 1:53
25. “Ma che giorno è mai questo?” 1:47
26. “Tu, è ver, m’assolvi, Augusto” 4:18

 

The hint of steel in Marina Rebeka’s voice suits Vitellia’s selfish, cruel nature, but its gleaming appeal suggests why the princess can so easily seduce Sesto into doing her bidding. (…) Rebeka makes her as pitiable as she is formidable.

Opera News, USA

Marina Rebeka’s Vitellia is red-hot, sensuous, vindictive, a firestorm of crackling high notes and smouldering low ones.

Financial Times, UK

Musically and dramatically, few singers manage to embody a character as completely as Rebeka animates Vitellia on this recording. Neither victim nor vixen, this Vitellia is merely, movingly human.

Voix des Arts, USA

Rebeka cumple con creces en su interpretación de la despechada hija de depuesto emerador Vitellio, cantando con una voz potente, en ciertos momentos, y moldeando su instrumento de tal manera que es capaz de frasear sutilmente o imprimirle incluso cierta sensualidad al papel.

Pro ópera, Mexico

Rebeka’s voice is pure and bright as a sunny day, and her outstanding musicianship is out of question. She sings the role of Vitellia with stylishness above everything else, but she is equally outstanding for her dramatic command. Without being tasteless or exaggerated, she is able to stress the right word to reveal the intensity of Vitellia’s feelings. While her high notes are always limpid and powerful, her low register is quite sound too. Arias as Deh, se piacer mi vuoi or Non più di fiori give the perfect idea of her vocal agility.

The Music Gala

Latvian soprano Marina Rebeka (recently a spectacular Norma at the Metropolitan Opera) sweeps all before her as the venomous Vitellia, establishing the character’s volatility and mercurial shifts of mood in the long opening recitative: even before her first aria, we get a full picture of the woman’s vulnerability, sarcasm, sexual allure and unstable ego.

Presto Classical , UK- Recording of the week

Marina Rebeka’s Vitellia, a larger-than-life performance that right away establishes the volatility of the character. Her top notes are searing and her low notes are fierce, which fits the role.