Englantilainen sopraano Natasha Marsh (Royal College of Music Opera) on klassisen musiikin uusi supertähti.
Marsh on esiintynyt koko 2000-luvun useissa oopperarooleissa, joiden lisäksi häntä on kuultu myös muun muassa BBC Scottish Symphony Orchestran, The London Handel Festival Orchestran ja Royal Philharmonicin solistina.
Debyyttialbumi Amour (EMI Classics) nousi julkaisuviikollaan klassisen albumilistan kärkeen Isossa-Britanniassa, ja maailmanlaajuisen jakelun saava albumi julkaistiin äskettäin myös Suomessa.
Marsh konsertoi Il Divon kanssa Helsingissä kesäkuun alussa.
Arvosteluja vuosien varrelta:
FORTUNIO (Jacqueline) - Grange Park Opera
"Natasha Marsh looks as lovely as she sounds and brings a bright, burnished soprano and serious professionalism to her performance." (Opera Now)
"...the ravishing Natasha Marsh, the outstanding Grange Park star this year." (Evening Standard)
"Natasha Marsh is beautiful and elegant and has a silvery voice..." (Financial Times)
"Natasha Marsh, imposing of voice and figure, who convincingly twists every man around her little finger. She's the outstanding Grange Park star this year." (Standard)
"...a bewitching Natasha Marsh." (Observer)
"...Natasha Marsh's adorable Jacqueline is deftly underplayed, her range of meaningful glances and spare, lithe movements the main weapons in her armoury of seduction. She effortlessly carries a cantabile line, colours and shapes it with due regard for words..." (The Stage)
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IDOMENEO (Ilia) - Opera North
"Natasha Marsh makes her Opera North debut as Ilia ... it is a strong debut, her part carried with clear confidence and fitting grace." (Yorkshire Post)
"Natasha Marsh's ardent Ilia shows great promise." (Independent on Sunday)
"Natasha Marsh makes a sweet Ilia." (Guardian)
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THE TURN OF THE SCREW (The Governess) - Grange Park Opera
"With her shapely and outstandingly well-sung Governess, Natasha Marsh confirms her star potential: a Felicity Lott in the making." (The Sunday Times)
"From her flustered entry, the governess's unassimilated lust for her employer is clear, and Natasha Marsh breathed enough night-sweat into the phraser 'he could see how well I do his bidding' to steam up the theatre. Hers is a wonderful performance of gradual unhinging, sung and phrased with levels of suggestion rarely heard..." (The Times)
"Natasha Marsh sings powerfully and movingly in the role of the Governess..." (Guardian)
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JANE EYRE (Jane) - Linbury Studio, Royal Opera House
"This texture is shot through with some lovely vocal writing, particularly well negotiated by Natasha Marsh (that operatic rarity: a lot more gorgeous than the character she portrays) as Jane. Her voice has a sort of clarinet timbre, full of suggestive undertones." (The Times)
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LA BOHÉME (Musetta) - Opera Holland Park
"Natasha Marsh makes a splendid Musetta, as coquettish and secure vocally as she is physically." (Metro)
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CARMEN (Miceala) - Royal Albert Hall
"...the real star of the show was Natasha Marsh's Miceala. She conveyed both the vulnerability and spirit of a role that can amount to little more than just one show-stopping aria. She provided the best singing of the afternoon with that - not just in terms of technique but because the emotion of the aria really came from somewhere. She alone seemed to be acting and behaving through her character." (Independent)
"Natasha Marsh was a lovely Miceala, her aria the vocal high point of the evening." (Opera)
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FEDORA (Olga) - Holland Park Opera
"Natasha Marsh, a glittering Olga." (The Times)
"Natasha Marsh, a dazzling Olga shows promise of a lustrous career." (The Observer)
--------------------------------------------------
AMOUR - Debut CD
"She's a true professional and her graceful, unflashy voice serves the songs - rather than the other way around - throughout." (Classic FM Magazine)
"Marsh sings all the songs in a soaring clear voice ... her tone is pure and her phrasing superb." (Muso)
"She carries it off here by the fresh beauty and serene legato of her voice and the characterisations of each song ... on 'Autumn Leaves' she is a convincing nightclub chanteuse ... Marsh is a master of disguises." (The Times)
"Marsh’s soprano is sweet, pure and very versatile." (BBC)
Kotisivu
http://www.natashamarsh.com/
PR-video
http://youtube.com/watch?v=SKFiZNaYzcU&mode=related&search=
Ai Giochi Addio -musiikkivideo
http://youtube.com/watch?v=PaYHsDf66to
The Brindisi (La Traviata) -duetto Alfie Boen kanssa Children in Need -ohjelmassa
http://youtube.com/watch?v=X-djNnpLSB4&mode=related&search=
Marsh on esiintynyt koko 2000-luvun useissa oopperarooleissa, joiden lisäksi häntä on kuultu myös muun muassa BBC Scottish Symphony Orchestran, The London Handel Festival Orchestran ja Royal Philharmonicin solistina.
Debyyttialbumi Amour (EMI Classics) nousi julkaisuviikollaan klassisen albumilistan kärkeen Isossa-Britanniassa, ja maailmanlaajuisen jakelun saava albumi julkaistiin äskettäin myös Suomessa.
Marsh konsertoi Il Divon kanssa Helsingissä kesäkuun alussa.
Arvosteluja vuosien varrelta:
FORTUNIO (Jacqueline) - Grange Park Opera
"Natasha Marsh looks as lovely as she sounds and brings a bright, burnished soprano and serious professionalism to her performance." (Opera Now)
"...the ravishing Natasha Marsh, the outstanding Grange Park star this year." (Evening Standard)
"Natasha Marsh is beautiful and elegant and has a silvery voice..." (Financial Times)
"Natasha Marsh, imposing of voice and figure, who convincingly twists every man around her little finger. She's the outstanding Grange Park star this year." (Standard)
"...a bewitching Natasha Marsh." (Observer)
"...Natasha Marsh's adorable Jacqueline is deftly underplayed, her range of meaningful glances and spare, lithe movements the main weapons in her armoury of seduction. She effortlessly carries a cantabile line, colours and shapes it with due regard for words..." (The Stage)
--------------------------------------------------
IDOMENEO (Ilia) - Opera North
"Natasha Marsh makes her Opera North debut as Ilia ... it is a strong debut, her part carried with clear confidence and fitting grace." (Yorkshire Post)
"Natasha Marsh's ardent Ilia shows great promise." (Independent on Sunday)
"Natasha Marsh makes a sweet Ilia." (Guardian)
--------------------------------------------------
THE TURN OF THE SCREW (The Governess) - Grange Park Opera
"With her shapely and outstandingly well-sung Governess, Natasha Marsh confirms her star potential: a Felicity Lott in the making." (The Sunday Times)
"From her flustered entry, the governess's unassimilated lust for her employer is clear, and Natasha Marsh breathed enough night-sweat into the phraser 'he could see how well I do his bidding' to steam up the theatre. Hers is a wonderful performance of gradual unhinging, sung and phrased with levels of suggestion rarely heard..." (The Times)
"Natasha Marsh sings powerfully and movingly in the role of the Governess..." (Guardian)
--------------------------------------------------
JANE EYRE (Jane) - Linbury Studio, Royal Opera House
"This texture is shot through with some lovely vocal writing, particularly well negotiated by Natasha Marsh (that operatic rarity: a lot more gorgeous than the character she portrays) as Jane. Her voice has a sort of clarinet timbre, full of suggestive undertones." (The Times)
--------------------------------------------------
LA BOHÉME (Musetta) - Opera Holland Park
"Natasha Marsh makes a splendid Musetta, as coquettish and secure vocally as she is physically." (Metro)
--------------------------------------------------
CARMEN (Miceala) - Royal Albert Hall
"...the real star of the show was Natasha Marsh's Miceala. She conveyed both the vulnerability and spirit of a role that can amount to little more than just one show-stopping aria. She provided the best singing of the afternoon with that - not just in terms of technique but because the emotion of the aria really came from somewhere. She alone seemed to be acting and behaving through her character." (Independent)
"Natasha Marsh was a lovely Miceala, her aria the vocal high point of the evening." (Opera)
--------------------------------------------------
FEDORA (Olga) - Holland Park Opera
"Natasha Marsh, a glittering Olga." (The Times)
"Natasha Marsh, a dazzling Olga shows promise of a lustrous career." (The Observer)
--------------------------------------------------
AMOUR - Debut CD
"She's a true professional and her graceful, unflashy voice serves the songs - rather than the other way around - throughout." (Classic FM Magazine)
"Marsh sings all the songs in a soaring clear voice ... her tone is pure and her phrasing superb." (Muso)
"She carries it off here by the fresh beauty and serene legato of her voice and the characterisations of each song ... on 'Autumn Leaves' she is a convincing nightclub chanteuse ... Marsh is a master of disguises." (The Times)
"Marsh’s soprano is sweet, pure and very versatile." (BBC)
Kotisivu
http://www.natashamarsh.com/
PR-video
http://youtube.com/watch?v=SKFiZNaYzcU&mode=related&search=
Ai Giochi Addio -musiikkivideo
http://youtube.com/watch?v=PaYHsDf66to
The Brindisi (La Traviata) -duetto Alfie Boen kanssa Children in Need -ohjelmassa
http://youtube.com/watch?v=X-djNnpLSB4&mode=related&search=
Vastaukset 4
Vanhimmat
HUOMASITKO, ETTÄ TUOSSA OLI YKSITOISTA (11) RIVIÄ ALEMPANA SAMA ALOITUS. Sinne on postitettu jo kaikki nuo mainostekstit.
Noin yleisesti ottaen.
Ja seuraava aloitus kesittyy Marshin vasemman jalan varpaisiin, ehkä jo huomenna...
Tämänkin aloituksen suomenkielisistä teksteistä yli puolet mainostaa sitä debyytti-CD:tä. Ja nuo vieraskieliset lainauksetkin on suurin osa levyn mainosmateriaalista.
Siis kun seuraavan kerran kirjoitat, niin katso tuohon "Kirjoita viesti" otsikon päälle:
Keskusteluissa ei saa:
# Markkinoida tai mainostaa tuotetta tai palvelua
# Massapostittaa puheenvuoroja tai lausuntoja
Tämä aloitus keskittyy Natasha Marshiin, josta kerrotaan olennainen - myös uusi levy mainitaan - ja hänen saamiaan arvosteluja tuodaan esille. Selvästi pienin osa suomen- ja englanninkielisestä materiaalista keskittyy albumiin.
Edellinen aloitus kertoi toki myös Marshin taustasta, mutta sen pääasiallinen painotus oli kertoa juuri tästä uudesta albumista.
Pahoittelen, jos psyykkeesi järkkyi niin pahoin näistä kahdesta viestistä kuin viestisi antaa ymmärtää. Massapostittamisesta ei todellakaan ole kyse (vaikka viestit niputettaisiinkiin saman otsakkeen alle, niin kaksi viestiä 40:stä ei ole mitään), eikä mainostamisesta.
Halusin vain kertoa uudesta levystä ja Marshista, ja jokainen voi ottaa niihin kantaa; tosin jos ei kykene rakentavaan keskusteluun, niin ei kannata.