SOPRANISTA – SAMUEL MARIÑO

Samuel Mariño’s Sopranista, accompanied by La Cetra Barockorchester under the direction of Andrea Marcon, presented a unique and intriguing exploration of the higher vocal range in classical music. Like a rare gem, Mariño’s soprano voice shines with light, brightness, and grace, offering a distinctive auditory experience that captures the listener’s attention. The album, released under the Decca label, unveils a collection of arias from various operas, some of which have been relatively unexplored, making this musical journey a fascinating one.

Mariño’s vocalism is characterized by its delicacy and expressiveness, creating an enchanting sonic landscape. His ability to convey emotion through his singing is evident, although at times, a touch more clarity in diction would have heightened the dramatic impact further. Nevertheless, his performances are consistently captivating, drawing the audience into the intricate emotions and narratives of each piece.

A standout feature of Sopranista is the inclusion of arias from lesser-known operas. Two arias from Joseph Bologne, Chevalier de Saint-Georges’ L’amant anonyme (1780), are presented for the first time on disc. The overture and arias from this opera offer a glimpse into Saint-Georges’ unique artistry and musical expression. Additionally, an aria from Domenico Cimarosa’s Oreste (1783) adds further depth and variety to the repertoire. The inclusion of these rare gems highlights Mariño’s commitment to unearthing hidden treasures from the classical canon.

One of the album’s highlights is Gluck’s “Che farò senza Euridice?” performed in the composer’s own soprano edition from 1769. The performers take a brisk tempo, infusing the aria with a sense of urgency and fervor. The decision to present Cherubino’s aria “Voi che sapete” from Mozart’s Marriage of Figaro in the male soprano range is both daring and successful. Mariño navigates this well-known piece with finesse, adding a fresh perspective to a beloved composition.

Mariño’s vocal range and dynamics are showcased throughout the album. His voice, often ethereal and delicate, is particularly captivating in the higher registers. The Oreste aria, in particular, allows Mariño to showcase his virtuosity and command of the soprano range. However, some moments in the L’amant anonyme arias could benefit from a touch more vocal presence.

Andrea Marcon’s direction of La Cetra Barockorchester complements Mariño’s performances admirably, creating a harmonious interplay between voice and orchestra. The ensemble’s period-instrument approach adds authenticity to the overall sound, transporting listeners to the era in which these works were composed.

Sopranista by Samuel Mariño is a noteworthy addition to the world of classical vocal recordings. Mariño’s soprano voice, with its distinct brightness and grace, offers a fresh perspective on familiar and lesser-known arias alike. The inclusion of rare repertoire, coupled with Mariño’s expressive delivery, ensures a captivating listening experience. While there may be areas for refinement, the album remains a testament to Mariño’s unique artistry and dedication to bringing hidden treasures to the forefront of the classical music landscape.