マリーナ・レベカは、リガ・ラトビア生まれ。2007年7月、ローマのサンタ・チェチーリア音楽院を卒業。アルベルト・ゼッダ指導によるアカデミア・ロッシニアーナで研鑽を積みました。2007年8月ペーザロ・ロッシーニ・オペラ・フェスティバルで「ランスへの旅」のフォルヴィル伯爵夫人とコルテーゼ夫人を歌い評価を固め、同10月にはドイツ・ギュータースロー国際コンクール"新しい声2007"で優勝。直ぐにウィーン・フォルクスオーパーでの「椿姫」のヴィオレッタ役で絶賛をあびました。現在ではロッシーニ作品にはかかせないソプラノ歌手として活躍していますが、このアルバムでは彼女が得意としているもうひとつの作曲家モーツァルトのオペラ・アリア集。役柄を完璧に掌握した歌唱は、テクニックだけでなく劇的さが加わったのもので、その本質が直接伝わってきます。
ワーナーミュージック・ジャパン

発売・販売元 提供資料 （2013/09/12）

Among a host of vocal recitals by up-and-coming artists from the old East Bloc, this one by Latvian soprano Marina Rebeka has a chance of standing out due to the piercing clarity of Rebeka's voice. Rebeka came to general notice with a debut at New York's Metropolitan Opera as Donna Anna in Mozart's Don Giovanni, so perhaps Mozart was a logical choice for a recital. As so often happens, Mozart reveals Rebeka's strengths and weaknesses. The power of her voice and its ability to cut through a room make one want to hear her in repertory of the Italian 19th century. Here she does well with the excerpts from Don Giovanni, and she seems especially comfortable in arias from two earlier Mozart arias, Idomeneo and Die Entfuhrung aus dem Serail, which are all about soprano display. In Le nozze di Figaro, and especially in Dove sono, i bei momenti (track 10), it's evident that Rebeka is not (or not yet) much of an actress, or doesn't really care what she's singing. The results in the Queen of the Night's aria "Zum Leiden bin ich auserkoren" (track 14) from Die Zauberflote are also less than satisfactory; that aria is supposed to sound unpleasant, and thus to characterize the evil queen, but Rebeka seems to half-smooth it out in an odd way. Nevertheless, when Rebeka is good here, she is very good, and she plainly has a career to watch and a voice to hear. She receives correctly unobtrustive support from the Royal Liverpool Philharmonic orchestra under Speranza Scappucci.

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