Amor fatale – Marina Rebeka sings Rossini
Marina Rebeka is one of the most successful sopranos of her generation. To mark the Rossini year of 2018 – 150 years since the composer’s death, on 13 November 1868 – Rebeka, the Münchner Rundfunkorchester and the Bavarian Radio Chorus, conducted by Marco Armiliato, have recorded an album of highly dramatic opera arias, released by BR-KLASSIK.
Marina Rebeka, soprano
Julia Heiler, mezzo-soprano
Levy Sekgapane, tenor
Gianluca Margheri, baritone
Bavarian Radio Chorus
Marco Armiliato, conductor
The album “Amor fatale” offers the opportunity to reacquaint oneself with the great soprano arias from Rossini’s less well-known but musically convincing tragic operas, in a fine interpretation.
The Latvian soprano has quite some experience with roles in Rossini, above all from his great tragic operas: the role of Anna Erisso from “Maometto II”, which she performed in 2008 at the Rossini Opera Festival in Pesaro, the composer’s birthplace, marked the very start of her career. She went on to draw international attention in 2009 when she debuted at the Salzburg Festival, as Anaï in “Moïse et Pharaon”. For her album she has worked through Rossini’s original handwritten manuscripts and included this in her performance; she has also developed her own coloraturas, which not only suit her voice both musically and technically, but also best correspond to the specific stage events and emotions encountered in her respective operatic roles.
The concept album entitled “Amor fatale” focuses on powerful female roles from the operas “Otello”, “Armida”, “La donna del lago (The Lady of the Lake)”, “Maometto II”, “Semiramide (Semiramis)”, “Moïse et Pharaon (Moses and Pharaoh)” and “Guillaume Tell (William Tell)”. The women are obliged to choose between love and duty, and frequently have to subordinate their personal fate to that of their family, nation or homeland. One reason why Rossini’s tragic heroines, their lively characters and their genuine and understandable conflicts are all especially successful is that the composer himself had a powerful woman at his side: the “prima donna” Isabella Colbran, for whom he wrote many of the great soprano roles in his operas and whom he eventually married.
CD, BR-KLASSIK, 900321