Marina Rebeka is one of the leading sopranos of our time, praised by audiences and critics for her stunning timbre, exceptional musicality, flawless technique and captivating acting skills.
Born in Riga, Marina began her musical journey in Latvia before continuing her studies in Italy, where she graduated from the prestigious Conservatorio di Santa Cecilia in Rome.
During her training, she also attended the International Summer Academy in Salzburg and the Rossini Academy in Pesaro.
Since her international breakthrough at the Salzburg Festival in 2009, under the baton of Riccardo Muti, Marina has regularly graced the world’s leading concert halls and opera houses. Her performances have taken her to the Metropolitan Opera, Carnegie Hall (New York), Teatro alla Scala (Milan), the Royal Opera House (London), Opéra de Paris, Vienna State Opera, Berlin State Opera, and many more. She has collaborated with renowned conductors, including Riccardo Muti, Zubin Mehta, Antonio Pappano, Yannick Nézet-Séguin, Daniele Gatti, Marco Armiliato, Michele Mariotti, Lorenzo Viotti , Gianandrea Noseda, Riccardo Chailly e Gustavo Dudamel.
Initially renowned for her interpretations of Mozart and Rossini, as well as her portrayal of Violetta Valéry in Verdi’s La Traviata—a role that became her signature—Marina has since expanded her repertoire, delving into the more dramatic bel canto and Verdi roles, which have now become central to her career. In the 2024-2025 season, she made history with her starring roles in the long-awaited return of two major operas to Teatro alla Scala: Cherubini’s Médée, absent for over 60 years, and Bellini’s Norma, which had not been performed there in 48 years.
In the 2024-2025 season, she made history with her starring roles in the long-awaited return of two major operas to Teatro alla Scala: Cherubini’s Médée, absent for over 60 years, and Bellini’s Norma, which had not been performed there in 48 years. A celebrated concert performer, she has appeared at some of the world’s most prestigious venues, including Teatro alla Scala in Milan, the Großes Festspielhaus in Salzburg, and the Opernhaus Zürich, among others.
Marina Rebeka’s discography includes collaborations with major labels such as Warner Classic, Deutsche Grammophon, BR Klassik, and Naxos. In 2018 she founded her own label, Prima Classic, under which she has released full opera recordings and solo albums, both as an artist and a producer. Her recordings have earned widespread critical acclaim and garnered numerous nominations and awards, including the International Classical Music Award (ICMA), Diapason d’Or, and the Diamant from France’s Opéra Magazine.
Marina has been honored with many prestigious accolades, including being named the first-ever Artist-in-Residence with the Munich Radio Orchestra. She was also awarded the title of Best Female Singer of the Year by the International Classical Music Awards and received the Order of the Three Stars, Latvia’s highest honor, for her outstanding cultural contributions.
Gianluca Macheda
ul. Grzybowska 43a, lok. 72 00-855
Warsaw Poland
gmacheda@gmartandmusic.com
Martina Biagini
Via Romana 578/B 55100 Lucca Italy
+39 3479762848
mbiagini@gmartandmusic.com
“Marina Rebeka’s radiant soprano was an aural delight throughout, and she is also a very affecting actress. Her lower and mid-registers were admirably mellow. She garnered the most applause, deservedly so.”
John Rhodes , Seen and Heard International
“Marina Rebeka è una Norma marcatamente lirica, più dolente che rancorosa, con momenti di morbidezza celestiale, non alieni a una certa cupa introspezione. La sua “Casta diva” è di quelli che si fanno ricordare, ma anche nei duetti con Adalgisa emergono le grandi qualità del soprano lettone: oltre all’indubbia qualità del timbro, la linea di canto è omogenea su tutta l’ampia estensione così come il fraseggio è sempre attento e coinvolgente.”
William Giuseppe Costabile Cisco , GBOPERA
“Fidèle à sa formation belcantiste, la soprano lettone aborde le rôle avec une maîtrise vocale incontestable. « O ma chère compagne » au troisième acte, après que le Roi répudie sa femme de chambre, en est ainsi exemple éclatant : maîtrise du legato, subtilité du chant jusqu’ à la moindre appogiature, aisance sur toute la tessiture. Telle une Julia dans La Vestale, Marina Rebeka aborde « Toi qui sus le néant » tel qu’il est, un air de Grand opéra Français, avec une déclamation royale, une variation des couleurs et un souffle infini. Quelques petits pianissimi et un soupçon d’abandon supplémentaires, et nul doute que l’on tiendra alors la grande titulaire actuelle de ce rôle verdien.”
Yves Jauneau, ForumOpera.com