Marina Rebeka was born in Latvia in 1980 and studied in Rome at the Conservatorio di Santa Cecilia and in Pesaro at the Accademia Rossiniana; she has described Rossini as her ‘destiny-composer’, due to the number of significant debuts she has made in his music (her first professional leading role was in Maometto II at Pesaro, her Salzburg festival debut in Moïse et Pharaon, and her first recording was the Petite Messe Solennelle with Antonio Pappano on Warner Classics). Rebeka’s repertoire also includes Violetta in La Traviata, Donna Anna and Donna Elvira in Don Giovanni, Marguerite in Gounod’s Faust, and the title-role in Bellini’s Norma, which she sang to great acclaim at the Metropolitan Opera in 2017.
Her discography includes Amor fatale (a collection of arias from Rossini’s opera serias on BR Klassik), Mozart arias with the Royal Liverpool Philharmonic Orchestra on Warner Classics (‘her debut recital announces a soprano of impressive vocal accomplishment and, at her best, dramatic flair’ – Gramophone), Vitellia on Yannick Nezet-Seguin’s 2018 recording of la clemenza di Tito (‘a larger-than-life performance that right away establishes the volatility of the character.’ – The Guardian), and (on DVD) Mathilde in Graham Vick’s staging of Rossini’s Guillaume Tell from the Teatro Comunale di Bologna, opposite Juan Diego Flórez as Arnaud.
Further Reading: Marina Rebeka
Marina Rebeka and Joyce DiDonato strike sparks off one another as Vitellia and Sesto in a terrific new recording of Mozart's final opera, with Rolando Villazón as the idealistic emperor against whom they conspire.
The Latvian soprano, who opens as Norma at the Metropolitan Opera tonight, talks to Katherine about her new album of arias from Rossini's tragic operas.