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Marina Rebeka

History

The international breakthrough happened for the Latvian soprano MARINA REBEKA with her debut at the Salzburg Festival in 2009 as Anaï (Moïse et Pharaon). Since then, she has been a regular guest at the world' most famous opera and concert stages, among others the Met and Carnegie Hall, the ROH Covent Garden, at the Salzburg Festival, the Scala, the Deutschen Oper Berlin, the Bavarian and Hamburg State Operas, in Baden-Baden, Peraso and Valencia. Recently, she gave her role debut at the Met and Lyric Opera in Chicago as Violetta, in the Arena di Verona as Juliette, Donna Anna in the Zurich opera house and the Lyric Opera Chicago as well as Mathilde at the Nederlandse Opera. Engagements comprise, among others, Violetta at the Deutschen Oper Berlin and the ROH Covent Garden. At the Met she will sing as Mathilde (Guillaume Tell) and Donna Elvira. At the Opera house in Zurich, she will sing Vitellia and at the Gran Teatre del Liceu Barcelona as Donna Anna. At the Wiener Staatsoper she gave her debut as Donna Anna and went on to sing Antonia and Violetta. http://www.wiener-staatsoper.at/Content.Node/home/kuenstler/saengerinnen/Rebeka.en.php

Movies

In The Land That Sings

In The Land That Sings

Looking for solutions of an efficient management and creation significant ideas to flourish Latvian culture and education, leaders of the Riga Latvian Society decide to hold the 1st Latvian Singing Festival back in 1873. At the beginning there are only four of them, very soon others – Latvians, Baltic Germans and Russians get involved, both influential persons of the society, countless volunteers from Riga, Livonia and Courland governorates. Also twenty-year-old Anna, whose desire to sing is stronger, despite the obstacles she has like any woman in that period of history, finds a way to join. By singing she finds self-confidence, power, joy of life and sense of unity, flourishing together with the Latvian nation, becoming a symbol of woman’s freedom.

Madama Butterfly - Valencia

Madama Butterfly - Valencia

Madama Butterfly

A guileless Japanese girl gives up everything to marry a lieutenant in the US Navy. But when he suddenly leaves the country, she is determined to wait patiently until he sails back into harbour. Live from Valencia's iconic Palau de les Arts, the audience favourite Madama Butterfly returns with soprano Marina Rebeka and tenor Piero Pretti in the leading roles. Director Emilio López’s staging culminates in the bleak landscape of Nagasaki destroyed by the atomic bomb to evoke Puccini's early outcry against the soul-crushing spirit of colonialism.

La Traviata - Teatro Real

La Traviata - Teatro Real

Time is running out for Violetta. Her illness is relentless, as are her feelings for her young admirer. As her past as a Parisian courtesan catches up with her, his provincial family is determined to break up their scandalous affair. Verdi’s La traviata is without a doubt one of the most moving stories in the operatic canon. Teatro Real’s semi-staged concert version recorded in July was one of the first productions to be put on worldwide after the lockdown. The ambitious undertaking weaves reality into its staging concept and features a spectacular cast led by Marina Rebeka, Michael Fabiano and Artur Ruciński.

Simon Boccanegra

Simon Boccanegra

Amelia Grimaldi

Power struggles among rival families in 14th-century Genoa, a story of tragic love, a young girl gone missing… Verdi’s Simon Boccanegra combines the perfect ingredients for gripping dramatic opera with a strong political message. On the stage of the Salzburg Festival, this sharp critique of power set to music is brought to life by the voices of Luca Salsi, Marina Rebeka, René Pape, Charles Castronovo, and others, who join the exceptional Valery Gergiev for a captivating performance.

Violetta Valéry

"This is Vienna State Opera live at home". March 2015.

Mathilde

Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.

Rossini: Guillaume Tell

Rossini: Guillaume Tell

Mathilde

The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.

The Metropolitan Opera: Don Giovanni

The Metropolitan Opera: Don Giovanni

Donna Anna

Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.