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Marina Monzó: We try to attract young people by trying a thousand new things and that is why we find all kinds of productions, but we forget that the most direct way to move the audience is through music and truth on stage.

After studying flute, she obtained her diploma in singing at Conservatorio Superior de Música de Valencia. In 2016 she made his operatic debut at the Bilbao Opera, where she played the title role in La sonnambula. She continued her singing studies at the Accademia Rossini in Pesaro under the direction of Alberto Zedda, singing several years at the Rossini Opera Festival. She perfected her vocal technique with Isabel Rey, Gioacchino Zarrelli, Mariella Devia, Daniela Dessi, Renata Scotto, among others. Marina has sung the roles of La Contessa di Folleville in Rossini’s Il viaggio a Reims in Pesaro, Ines in Donizetti’s La Favorit, Gilda in Verdi’s Rigoletto at the Teatro San Carlo di Napoli and Théâtres de la Ville de Luxembourg, Giulia in Rossini’s La scala di seta, at the Royal Opera House of Muscat and Rossini Opera Festival, as well as Susanna in Mozart’s Le nozze di Figaro and Zerlina in Mozart’s Don Giovanni, Fluvia in La pietra del paragone at the Rossini Opera Festival, Marola in La tabernera del puerto at the Teatro de la Zarzuela, Norina in Don Pasquale and Adina in Donizetti’s L’elisir d’amore at the Teatro del Maggio Musicale Fiorentino and Despina in Mozart’s Così fan tutte at the Palau de les Arts in Valencia. Recent engagements include Donna Anna debut in Don Giovanni, at the Welsh National Opera, her debut as Queen of the Night in Mozart’s Die Zauberflöte, at the Bayerische Staatsoper in Munich and Il viaggio a Reims at the Deutsche Opera Berlin. Her future commitments include new productions in Mexico City, the Palau de les Arts in Valencia, the Teatro Real and the Teatro de la Zarzuela.

Dear Marina, thank you for accepting our invitation! You are now at Deutsche Oper Berlin for Rossini’s Il viaggio a Reims. This is a very interesting production signed by Jan Bosse and under the baton of Yi-Chen Lin. How about Bosse’s idea of Rossini’s opera? Do you think that modern productions are the future of opera? Would this be the key to success in attracting young audiences to theatres?

This Il viaggio a Reims was set in a mental hospital and it seems to me that it is a very logical idea. This opera is not like all the others, there are 14 characters and each one has his own concerns, almost all of them have an aria or a duet, so I think it is an interesting idea. I think the future in opera is to put music and scene together but in a more active way. We need stage managers who understand music and, above all, who understand singers, so we can do a deeper work of interpretation as we do in prose theater. We try to attract young people by trying a thousand new things and that is why we find all kinds of productions, but we forget that the most direct way to move the audience is through music and truth on stage. For this reason we need to find stage managers who can work well and deeply with singers.

After two years of the pandemic, the world is starting to get back to normal. However, every area has been left with some ‘after-effects’. How has the world of opera changed in the last 2 years? What direction do you think it is heading in?

Due to some cancellations of singers for covid we find so many last minute replacements, this can be a good thing to meet new singers and also have certain opportunities that were much more difficult before. Also more records are being recorded and more works on video, more streamings are being done. On the other hand, I feel that the public is still afraid to go to the theater, the halls are not 100% full, but I think this is more a matter of time, I think things are improving little by little.

Speaking of the current situation, we are all watching what is happening and we are all praying for Ukraine. Online and not only, many people and instituions have expressed their position on the current socio-political situation. I have to ask: do you think that culture must stay out of political matters? However, no matter what, we cannot shut out Russian history and culture from our lives. Do you think the difference between Russia (as a ideology, politics) and Russian culture should be better emphasized?

Culture is a very powerful weapon to make criticism of all kinds, it has always been so, I do not think it is different now. That’s why I think no, culture should not be left out of politics, especially in an extreme situation like this. Now, in the Journey to Rheims, they projected the Ukrainian flag when we all sang “Viva l’armonia ch’è fonte d’ogni ben” (Long live harmony, which is the source of every good), the whole audience and us singers were very moved. I think there is no need to divide because they are already divided. Cultural heritage and heritage define the true identity of a country. Governments and ideologies change over time, however, art will continue and it makes no sense to take away the value they have. The historical present is one thing and cultural heritage is another.

Read the entire interview here, in the 3th/2022 issue of OPERA Charm Magazine.

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