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The Argentine mezzo-soprano, Mariana Rewerski, studied piano, conducting and singing at the Conservatory and the Academy of Performing Arts within Teatro Colón in Buenos Aires. Other teachers have included Marta Blanco, Horst Günther, Anatoli Gousev, Denise Dupleix (vocal training) and G. Opitz (Chanson and Lied). She further honed her skills at voice master-classes given by Montserrat Caballé, Reri Grist and Thomas Hampson. While earning a diploma in piano from the National Conservatory in Buenos Aires, she won first prize in the Academia Bach Shell CAPSA Voice Competition in 2000.
Mariana Rewerski is a multifaceted and dynamic artist who brings to her performances the passion one would expect from the native of Buenos Aires, Argentina. A voice of lyric beauty and great versatility, she has portrayed many of the important roles from the standard repertoire, while also seeking out less often performed works ranging from the medieval and baroque to the new music of today's up-and-coming composers. At home in opera, chamber music, oratorio and song, she is establishing herself internationally as a rare talent.
Mariana Rewerski made her debut in 1995 in the Teatro Colón as in J.S. Bach's Magnificat in D major BWV 243 and A. Vivaldi's Gloria. In the same theatre she sung in Monteverdi’s Orfeo (Nymph, 2000) and W.A. Mozart's Le nozze di Figaro (Cherubino, 2001), W.A. Mozart's Cosi fan tutte (Dorabella, 2006), Benjamin Britten's A Midsummer Night’s Dream (Hermia, 2006) and Massenet’s Werther (Charlotte, 2007), Fabio Gondi in Donizzetti’s Maria di Rohan (2008), etc. During this time, she joined companies such as Juventus Lyrica and Buenos Aires Lírica, debuting many important roles at the Teatro Avenida in Buenos Aires, including the title role in Georges Bizet's Carmen, Dorabella in W.A. Mozart's Così fan tutte, Isabella in Rossini's L'Italiana in Algeri, Cherubino, Second Lady in W.A. Mozart's Die Zauberflöte, La Voisine in Igor Stravinsky’s Mavra, Euridice in Charpentier’s Le Descente d’Orphee aux Enfers, Isabella in Rossini’s L’Iitaliana in Algeri, roles in Ravel's L’enfant et les sortileges, and the title role in Offenbach's La belle Hélène(2008). At the Dante Alighieri Auditorium in Buenos Aires she sang Rosina in Rossini’s Il Barbiere di Siviglia.
In the 2003-2004 season Mariana Rewerski was a member of the International Opera Studio in Zürich where she sang Clarice in Rossini's La Pietra del Paragone as well as numerous smaller roles on the main stage of the Zürich Opera. Establishing her home in Europe, she rounded out her training with studies at the Scuola Musicale di Milano as well as IDEV in Paris and made debuts as Hermia in B. Britten's A Midsummer Night’s Dream at the Opéra de Nice (2008) and Zerlina in Porrentruy (Switzerland) in a televised performance produced by the Fondation Axiane with Barockorchester Capriccio Basel with original instruments and the conduction of Emmanuel Calef (2007).
As a passionate interpreter of Baroque music, Mariana Rewerski was sung Ottavia in Monteverdi’s L’incoronazione di Poppea with William Christie and Les Arts Florissants (Opéra de Lyon, 2004), Dido in Purcell’s Dido and Aeneas, Euridice in Charpentier’s La descente d’Orphée aux enfers, Cavalieri's Rappresentatione d’Anima et di Corpo, Cavalli’s La virtú degli strali d’amore and Gli amori d'Apollo e di Dafne, Rameau’s Les Indes Galantes, and most recently, Argene in Antonio Vivaldi's L’Olimpiade at the Castle of Schwetzingen (Heidelberg Opera House) and George Frideric Handel's Rinaldo (title role) at the National Theatre in Czech Republic (spring 2009). She was also was profoundly influenced, both artistically and personally, by the great singer and musicologist Ann-Marie Deschamps. It was with her ensemble Venance Fortunat that Mariana was introduced to the performance practices of medieval chant and the interpretation of manuscripts such as the Gradual de Bellelay.
Additional theaters where Mariana Rewerski has performed include the Teatro de la Zarzuela (Madrid), Teatro Politeama Garibaldi (Palermo, Italia), Teatro del Círculo (Rosario, Argentina), Teatro Arriaga (Bilbao), Victoria Hall (Geneva), and festivals such as the Prague Spring Festival and Ostrava's St. Wenceslas Music Festival (Czèch Republic), Festival de Sully et Loiret, Festival de Vézelay, Festival de Pontoise, Festival de Sablé, Festival de la Chaise Dieu and Festival d'Ambronay (France), Festival de Musique Sacrée in Fontevraud (France), Festival de Wallonie, Festival de Flandres (Belgium), Anvers Festival (Belgium) and in Latino America-Baroque Music Festival in Chiquitos, (Bolivia) and in the Oficina de Musica Antiga in Curitiba (Brasil).
In oratorio and concert, she made her debut in the Teatro Colón in the J.S. Bach's Magnificat in D major BWV 243 and A. Vivaldi's Gloria. Other credits include J.S. Bach's Matthäus-Passion BWV 244 and Johannes-Passion BWV 245, Mass in B minor BWV 232, and Weihnachts-Oratorium BWV 248, W.A. Mozart's Requiem, L.v. Beethoven's Symphony No. 9, Maurice Duruflé's Requiem, and A. Vivaldi's Juditha Triumphans. Most recently she was heard as Cleophe in G.F. Handel's La Resurrezione and in Jan Dismas Zelenka’s Officium Defunctorum and I Penitenti al Sepolchro del Redentore.
An avid recital singer, Mariana Rewerski has a repertoire spanning a broad range of styles and languages. Since 2001, she has enjoyed collaborating with pianist Valeria Briatico, frequently performing programs exploring the gamut of intimate songs from the 19th and 20th centuries.
Mariana Rewerski can be heard on recording as Pippo in Rossini's La gazza ladra at the Wildbad Rossini Festival under the baton of Alberto Zedda (Naxos live recording), as la Sospecha and Terpsichore in Torrejón y Velazco’s La Purpura de la Rosa, as Venus in Cavalli’s Gli amori di Apollo e di Dafne with the Elyma Ensemble (Gabriel Garrido), as the Israelite Man in G.F. Handel's Judas Maccabaeus with the ensemble Les Agrémens under Leonardo García-Alarcón, and in the role of Maddalena in J.D. Zelenka’s oratorio I Penitenti al Sepolchro del Redentore with Collegium 1704 under Václav Luks (2008, recorded for the French label Zig-Zag Territoires).
Recent engagements include the title role in G.F. Handel Rinaldo at the Prague National Theatre in the spring of 2009, and in the following year athe Grand Theatre de Luxembourg, Opéra de Caen and Opéra de Rennes; Haydn's Stabat Mater with the Orchestre de Chambre de Lausanne and the role of Martha in the world première performance and recording of Oscar Strasnoy's Un retour at the Aix-en ProvenFestival. |
