Marta Torbidoni started studying singing under the guidance of M° Doriana Giuliodoro, graduating in 2013 the Giovanni Batista Pergolesi Conservatory, improving then her vocal skills due to her lessons with Renata Scotto, Sylvia Sass, Giorgio Merighi, Giovanna Casolla, Valeria Esposito, Paolo Barbacini, Fabio Armiliato, Micaela Carosi, Mirella Freni, who is her mentor at the moment. After being a finalist of the Verdian Voices Competition in Busseto, where she won the role of Amalia in I Masnadieri, which she debuted at Teatro Verdi in Busseto during the 2016 Festival Verdi. Making herself noticed in the Italian opera world, Marta Torbidoni performed in most of the most prestigious theaters, working with important conductors as Jader Bignamini, Francesco Ivan Ciampa, Fabrizio Maria Carminati, Renato Palumbo, John Neschling, Fabio Biondi, Sebastiano Rolli, Giacomo Sagripanti, Pinchas Steinberg, Riccardo Frizza. Her repertoire includes titles as La Traviata, Anna Bolena, Rigoletto, Gianni Schicchi, I Puritani, I Masnadieri, Il Trovatore, Carmen, I Pagliacci, Turandot, Roberto Devereux.
Dear Marta, you have started studying singing from a very young age, graduating the Giovanni Batista Pergolesi Conservatory in 2013. What was the approach you had on your voice back then and how does it change through the years, during you career?
Becoming a professional singer means studying a lot of theory and practicing further, coming to use your instrument, the voice, as a real craftsman would do. To do this, you need to learn the technique and put it into practice. Basically, I think that in the career of a singer the formation that lays the foundations and the knowledge to face the stage and the approach to the actual performance is very important. I started firstly as an instrumentalist, studying the piano for many years and later also the clarinet. After graduation, I started to perfect myself, attending academies such as the Opera Studio with Renata Scotto in Rome, the Puccini Academy, Scuola dell’Opera in Bologna. All this baggage of teachings has undoubtedly enriched my musical knowledge, even if the real “experience” is made on stage.
Your mentor at the moments is the legendary Mariella Devia. How did you feel in May 2015, when you have been called to replace your maestra, a mentor for all sopranos in the world, in the role of Anna Bolena at the Tenerife Auditorium?
I was in Torre del Lago, singing Gianni Schicchi. My agent called me and told me I had to leave immediately for Tenerife, where I would have replaced Mrs. Devia, who had unfortunately fallen ill. Panic! I didn’t know when I would go on stage or even the staging form (whether it was in stage form or concert form). Shortly, total darkness. Without considering the fact that the concert would have been performed the next day, despite everything, I left, not realising also that I had never sung the traditional version of the piece before. I arrived in Tenerife and I was welcomed very kindly by everyone. I had a meeting with the conductor Sebastiano Rolli and then, after a while the concert began.
Read the entire interview & many other interesting articles here, in the 1st/2021 issue of OPERA Charm Magazine.0