MARLA'S OPERA CAREER
Marla is a mezzo-soprano who made her debut in as Adalgisa in Bellini's Norma, in Besancon, France. She got rave reviews.
This beautiful artist, who has an imperial silhouette and demeanor, revealed a femininity and power of emotion.
2nd Lady - Die Zauberflöte, Utah Festival Opera
Another critic called her a "superb Adalgisa, who gave power and dignity to the role.”
And yet another gushed “in the role of Adalgisa, which demands important vocal and scenic qualities, Marla Volovna was perfect.”
After this auspicious beginning, Marla began to sing leading operatic roles all over France and Italy. They included Olga and Filipievna in Eugene Onegin, Taven in Mireille, Fenena in Nabucco. At Dublin Opera, she performed the title role in Bononcini's Astarto, and Nancy in Fowtow's Martha.
She returned to the United States, and continued to wow audiences. She performed roles including Baba from Stravinsky's Rake's Progress, the Mother (Amahl and the Night Visitors), the title role in Carmen, the Witch (Hansel and Gretel), Elvira (Don Giovanni), Second Lady (Die Zauberflöte), and Adah in Victor Herbert's Naughty Marietta.
Marla also acted off-Broadway, with theatrical leads including the title role in Euripides’s Medea.
And yet another gushed “in the role of Adalgisa, which demands important vocal and scenic qualities, Marla Volovna was perfect.”
After this auspicious beginning, Marla began to sing leading operatic roles all over France and Italy. They included Olga and Filipievna in Eugene Onegin, Taven in Mireille, Fenena in Nabucco. At Dublin Opera, she performed the title role in Bononcini's Astarto, and Nancy in Fowtow's Martha.
She returned to the United States, and continued to wow audiences. She performed roles including Baba from Stravinsky's Rake's Progress, the Mother (Amahl and the Night Visitors), the title role in Carmen, the Witch (Hansel and Gretel), Elvira (Don Giovanni), Second Lady (Die Zauberflöte), and Adah in Victor Herbert's Naughty Marietta.
Marla also acted off-Broadway, with theatrical leads including the title role in Euripides’s Medea.
There are not too many voices left in the world like this.
Title role - Carmen, Renaissance Opera
Marla later toured Russia and Ukraine as Fricka (Das Rheingold, Die Wallkyre), Erda (Die Wallkyrie), Walltraute (Gotterdamerung), the title role in Carmen, Adalgisa (Norma), Pauline (Tschaikowsky’s Pique Dame), and Marfa (Mussorgsky’s Kovanschina).
Marla's concert repertoire includes the Verdi Requiem in Paris and Bordeaux, radio broadcasts of Mahler’s Kindertoten Lieder in France and Italy, and Darius Milhaud’s Return of the Prodigal Son for the RAI, Italian radio.
She currently lives in California. Locally, she has been a frequent soloist with Apollo Opera, specializing in the late romantic repertoire. Ms. Volovna also performed the Brahms Alto Rhapsody at the San Francisco Conservatory with the Bay Area Rainbow Symphony under the direction of Daniel Canosa. She has sung Beethoven’s 9th Symphony with Apollo Arts and with Auburn Symphony at the Mondavi Center, as well as appearing at Grace Cathedral to sing “Angel’s Farewell” from Elgar’s Dream of Gerontius.
Marla's concert repertoire includes the Verdi Requiem in Paris and Bordeaux, radio broadcasts of Mahler’s Kindertoten Lieder in France and Italy, and Darius Milhaud’s Return of the Prodigal Son for the RAI, Italian radio.
She currently lives in California. Locally, she has been a frequent soloist with Apollo Opera, specializing in the late romantic repertoire. Ms. Volovna also performed the Brahms Alto Rhapsody at the San Francisco Conservatory with the Bay Area Rainbow Symphony under the direction of Daniel Canosa. She has sung Beethoven’s 9th Symphony with Apollo Arts and with Auburn Symphony at the Mondavi Center, as well as appearing at Grace Cathedral to sing “Angel’s Farewell” from Elgar’s Dream of Gerontius.
What a powerful voice Ms. Volovna has. And she uses it with such mastery.
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MARLA'S STAGE DIRECTING
Marla received her MFA in Opera Direction from Indiana University. In 1989 she co-founded Apollo Opera, situated in the Sierra Foothills of Northern California. From 1989-2003, Marla acted as the main stage director for Apollo Opera, which featured original productions spanning the operatic repertoire.
Marla's first season opened with Gluck’s Orfeo, using only one professional singer. Yet the production was singled out for a prize, reviewed by the Sacramento Bee and called “magically ethereal.” It was aired on public television in Indiana where she also directed Darius Milhaud’s Medee. Gradually the company was able to hire excellent Bay Area professionals for the leading roles, and under Marla's direction the company continued to receive extraordinary acclaim. The many operas Ms. Volovna directed for the company include Orfeo, Ormindo, The Magic Flute, Cosi Fan Tutte, Don Pasquale, Carmen, Madame Butterfly, Rigoletto, Dido and Aeneas, and Amahl and the Night Visitors.
Marla's first season opened with Gluck’s Orfeo, using only one professional singer. Yet the production was singled out for a prize, reviewed by the Sacramento Bee and called “magically ethereal.” It was aired on public television in Indiana where she also directed Darius Milhaud’s Medee. Gradually the company was able to hire excellent Bay Area professionals for the leading roles, and under Marla's direction the company continued to receive extraordinary acclaim. The many operas Ms. Volovna directed for the company include Orfeo, Ormindo, The Magic Flute, Cosi Fan Tutte, Don Pasquale, Carmen, Madame Butterfly, Rigoletto, Dido and Aeneas, and Amahl and the Night Visitors.
Slideshow from Marla Volovna directing John Blow's Venus and Adonis with the Marin Baroque.
During this time, Marla was hired as a lecturer and stage director at Utah State University in Logan, Utah. The Eccles Theatre, which houses the Utah Festival Opera, was christened under Marla's direction in collaboration with Michael Ballam, Artistic Director of the Utah Festival Opera, with excerpts from The Merry Widow and La Traviata.
Marla was also a member of the Faculty at California State University, Sacramento, where her undergraduate students achieved awards at the Metropolitan Opera Competition, among others.
Marla was also a member of the Faculty at California State University, Sacramento, where her undergraduate students achieved awards at the Metropolitan Opera Competition, among others.
Ms. Volovna's Orfeo ...[was] magically ethereal." — The Sacramento Bee
Internationally, she has given master classes in Acting for Singers and Acting the Aria at Shanghai Opera and the Opera Institute of Teatro Colon in Buenos Aires, as well as being on the Voice Faculty at the Conservatory of Draincy in France.
Most recently, she's given master classes and directed young professionals in baroque opera scenes from Gluck's Orfeo ed Euridice, L'Orfeo and L'Incoronazione di Poppea by Monteverdi, and Purcell's Dido and Aeneas for the program Complete Package Performer.
Other bay area instruction and master classes include CSU-Chico and UC Davis, Mayflower Chorus (San Rafael), Occidental Community Choir (Santa Rosa), and Renaissance Choir (Sacramento). Marla has also taught Opera Appreciation as a guest lecturer at OLLI - SFSU.
Most recently, she's given master classes and directed young professionals in baroque opera scenes from Gluck's Orfeo ed Euridice, L'Orfeo and L'Incoronazione di Poppea by Monteverdi, and Purcell's Dido and Aeneas for the program Complete Package Performer.
Other bay area instruction and master classes include CSU-Chico and UC Davis, Mayflower Chorus (San Rafael), Occidental Community Choir (Santa Rosa), and Renaissance Choir (Sacramento). Marla has also taught Opera Appreciation as a guest lecturer at OLLI - SFSU.
