Marly Montoni, soprano

MarlY Montoni
Soprano


"Marly Montoni endowed Leonore with her velvety and dark timbre, which follows an infinite range of inflections when creating dramatic nuances. She knows how to project her voice, and none of the musical intentions escaped the audience, who greeted her with a triumph of applause."

Fidelio, Theatro Municipal de São Paulo
Jorge Coli, Concerto Magazine

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bio

Marly Montoni made her international debut in Nicosia, Cyprus, for the Pharos Artist Foundation in November 2022, and in 2023 she debuted with the National Symphony of Sodre in Montevideo, Uruguay, singing Verdi's Requiem.

Since her debut at the São Paulo Municipal Theater in 2017 as Leonora in Beethoven's "Fidelio," she has consistently participated in the seasons with roles such as Abigaille in Verdi's "Nabucco," Liù in Puccini's "Turandot," Stravinsky's "The Rake's Progress" as Anne, Verdi's "Aida," a soloist in John Adams' "El Niño," and for the São Paulo premiere of Andrew Lloyd Webber's "Requiem," Elodie Bouny's "Meia Lágrima," and João Guilherme Ripper's "Icamiabas."

She was a protagonist in G. Gershwin's "Porgy and Bess" at the Palácio das Artes in Belo Horizonte and was part of the Stable Ensemble of Theatro São Pedro, where she performed the roles of Odaleia in C. Gomes' "Condor," Wally in A. Catalani's "La Wally," Queen Elisabetta in G. Donizetti's "Roberto Devereux," and the second Maid in Zemlinsky's "Der Zwerg." She debuted the role of Cio-cio San in Giacomo Puccini's "Madame Butterfly" at the Teatro Sérgio Cardoso.

Previous performances at Theatro São Pedro include the world premiere of Jorge Antunes' "O Espelho," as Eufrásia, Fosca (C. Gomes), and Prokofiev's "Bodas no Monastério," as well as "The Telephone" (G. C. Menotti). She also participated in the "International Concert Series" alongside Italian bass Roberto Scandiuzzi in excerpts from Verdi's "Don Carlo."

She has also sung with the Campinas Symphony Orchestra, the Bahia Symphony Orchestra, and interpreted the role of Violet in G. Gershwin's opera "Blue Monday" at the Opera Festival of Teatro da Paz in Belém.

She has worked under the musical direction of Roberto Minczuk, Silvio Viegas, Luiz Fernando Malheiro, André dos Santos, Ligia Amadio, Abel Rocha, Gabriel Rhein-schirato, Fábio Mechetti, Carlos Prazeres, and under the stage direction of Juliana Santos, Bia Lessa, Caetano Vilela, William Pereira, André Heller-Lopes, and Cleber Papa.

português
Marly Montoni fez sua estreia internacional em Nicósia, Chipre pela Pharos Artist Foundation novembro de 2022 e em 2023 estreou com a Sinfônica Nacional del Sodre em Montevideu, Uruguai, cantando o Requiem de Verdi.

Desde sua estreia no Teatro Municipal de São Paulo em 2017 como Leonora em Fidelio de Beethoven sempre participou das temporadas em participações como Abigaille em Nabucco, de G. Verdi, Liú em Turandot, de Puccini, The Rake's Progress de Stravinsky como Anne, Aida em Aida de Verdi, como solista na obra El Niño de John Adams e para a estreia paulistana do Requiem de Andrew Lloyd Weber, Meia Lágrima, de Elodie Bouny e Icamiabas de João Guilherme Ripper.

Foi protagonista em Porgy and Bess de G. Gershwin no Palácio da Artes de Belo Horizonte e integrou o Elenco Estável do Theatro São Pedro, onde cantou os papéis de Odaleia em Condor de C. Gomes, Wally em La Wally de A. Catalani, Rainha Elisabetta em Roberto Devereux, de G. Donizetti e a segunda Serva de Der Zwerg, de Zemlinsk. Estreou o papel de Cio-cio San em Madame Butterfly de Giacomo Puccini no Teatro Sérgio Cardoso.

Performances anteriores no Theatro São Pedro incluem a estreia mundial de O Espelho de Jorge Antunes, como Eufrásia, Fosca (C. Gomes) e Bodas no Monastério (Prokofiev), The Telephone (G. C. Menotti). Também participou da “Série Concertos Internacionais” ao lado do baixo italiano Roberto Scandiuzzi em trechos de Don Carlo de G. Verdi.

Cantou também com a Orquestra Sinfônica de Campinas, a Orquestra Sinfônica da Bahia e interpretou Violet da ópera Blue Monday de G. Gershwin no Festival de Ópera do Teatro da Paz em Belém.

Tem trabalhado sob direção musical de Roberto Minczuk, Silvio Viegas, Luiz Fernando Malheiro, André dos Santos, Ligia Amadio, Abel Rocha, Gabriel Rhein-schirato, Fábio Mechetti, Carlos Prazeres e sob direção cênica de Juliana Santos, Bia Lessa, Caetano Vilela, William Pereira, André Heller- Lopes, Cleber Papa.

español
Marly Montoni hizo su debut internacional en Nicosia, Chipre, para la Pharos Artist Foundation en noviembre de 2022, y en 2023 estrenó con la Orquesta Sinfónica Nacional del Sodre en Montevideo, Uruguay, interpretando el Réquiem de Verdi.

Desde su debut en el Teatro Municipal de São Paulo en 2017 como Leonora en "Fidelio" de Beethoven, ha participado constantemente en las temporadas con roles como Abigaille en "Nabucco" de Verdi, Liù en "Turandot" de Puccini, Anne en "The Rake's Progress" de Stravinsky, Aida en la ópera homónima de Verdi, como solista en la obra "El Niño" de John Adams, y en el estreno en São Paulo del Réquiem de Andrew Lloyd Webber, "Meia Lágrima" de Elodie Bouny e "Icamiabas" de João Guilherme Ripper.

Fue protagonista en "Porgy and Bess" de G. Gershwin en el Palacio de las Artes de Belo Horizonte y formó parte del Elenco Estable del Theatro São Pedro, donde interpretó los roles de Odaleia en "Condor" de C. Gomes, Wally en "La Wally" de A. Catalani, la Reina Elisabetta en "Roberto Devereux" de G. Donizetti y la segunda Doncella en "Der Zwerg" de Zemlinsky. Debutó en el papel de Cio-cio San en "Madama Butterfly" de Giacomo Puccini en el Teatro Sérgio Cardoso.

Actuaciones anteriores en el Theatro São Pedro incluyen el estreno mundial de "O Espelho" de Jorge Antunes, como Eufrásia, Fosca (C. Gomes) y "Bodas no Monastério" (Prokofiev), así como "The Telephone" (G. C. Menotti). También participó en la "Serie de Conciertos Internacionales" junto al bajo italiano Roberto Scandiuzzi en fragmentos de "Don Carlo" de G. Verdi.

También ha cantado con la Orquesta Sinfónica de Campinas, la Sinfónica de Bahia y interpretó el rol de Violet en la ópera "Blue Monday" de G. Gershwin en el Festival de Ópera del Teatro da Paz en Belém.

Ha trabajado bajo la dirección musical de Roberto Minczuk, Silvio Viegas, Luiz Fernando Malheiro, André dos Santos, Ligia Amadio, Abel Rocha, Gabriel Rhein-schirato, Fábio Mechetti, Carlos Prazeres, y bajo la dirección escénica de Juliana Santos, Bia Lessa, Caetano Vilela, William Pereira, André Heller-Lopes y Cleber Papa.

reviews

"... Marly Montoni sang a truly sublime Summertime; her rich and expressive voice, her powerful high notes, brought life and great emotion to the words."
Porgy and Bess, Campinas Symphony Orchestra
Joge Coli, Concerto.com, March 2023



"The standout of the performance was soprano Marly Montoni, who portrayed Cio Cio San. From the beginning to the final scene, Montoni crafted an excellent interpretation with secure technique, vocal personality, and rich tonal nuances, offering moments of great emotion such as the duet with Suzuki or the scene of Pinkerton's letter reading. Also, due to Montoni's performance, the second act was the highlight of the show."
Butterfly, CIA OPERA SP
Nelson Kunze, Concerto Magazine 2019



"... the voluptuous color of her timbre, her beautiful low notes, and the admirable dynamic control in the long phrases. (...) moving, musical, worthy of any great theater on the planet."
"Turandot" at Theatro Municipal de São Paulo
by Jorge Coli, 11/27/2018



A Star is Born
"This took place at Theatro Municipal de São Paulo during the concert performance of Beethoven's Fidelio. This star's name is Marly Montoni. It was her debut in that noble hall, and in a challenging role, that of Leonore. But when she rose for her first intervention, in the quartet of Act 1, when she uttered the words "The danger is great" with a tone of melancholic anguish, one immediately felt that the truth of the character was there.

Marly Montoni is very beautiful, possesses a natural fine elegance, noble and expressive gestures, and radiates a charisma that draws the eyes. In this sense, she deviates from the conventional postures so often seen among opera singers and, so to speak, brings the characters she embodies to life from within. Before any movement of her, they are already there, in her soul. They shine through her eyes.

Leonore has a major scene in which she sings the aria "Come, hope", preceded by the recitative "Abominable!", in which she expresses her indignation against the powerful Pizarro. Marly Montoni gave her a velvety and dark timbre, capable of a vast range of inflections to create dramatic nuances. She knows how to project her voice, and none of the musical intentions escaped the audience, who greeted her with a triumphant applause."

Fidelio (Leonore)
by Jorge Coli, Concerto Magazine 04/11/2017

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