" her warmly burnished vocals and dramatic intensity"
Mezzo-soprano Victoria Marshall’s star is rising as an interpreter of art-song, opera, and oratorio. After studying jazz voice at McGill University she at last discovered her true calling in classical music and has since made her professional debuts singing Handel’s Messiah with the Winnipeg Symphony Orchestra under the baton of Case Scaglione, with the Regina Symphony Orchestra under Hart Godden, and with the National Academy Orchestra under Boris Brott.
A lover of new music, Victoria created the role of Vashti in the world premiere of the science-fiction opera, The Machine Stops, based on E.M. Forster’s short story, as well as originating the role of Samantha Melrose in BOUND, A Handel Mash-up with Against the Grain Theatre. Ms. Marshall also developed the role of Virginia (singer) in Muse 9's interdisciplinary staging of Dominick Argento's beloved song cycle From The Diary of Virginia Woolf.
Operatic roles include Isabella (L'Italiana In Algeri), Idamante (Idomeneo), Olga (Eugene Onegin), Bianca (The Rape Of Lucretia), and Mme de la Haltière in (Cendrillon). Concert credits include St. Matthew Passion, St. John Passion, B Minor Mass, The Messiah, Vivaldi's Gloria, and Zelenka's Te Deum.
"Victoria Marshall shone in this movement, singing with a truly gorgeous and wholesome rounded quality."
GWENDA NEMEROFSKY / WINNIPEG FREE PRESS
"Mezzo-soprano Victoria Marshall is a real joy throughout as Mrs. Butterbun. Not only does she have the rich, ringing low voice that Gilbert’s many middle-aged matrons require, but she positively beams with confidence and good humour whenever she is on stage."
CHRISTOPHER HOILE / STAGE DOOR
"As Bianca, Marshall's darker, fuller tone spoke to the
character's years. Her characterization was top-notch as well."
GREG FINNEY / SCHMOPERA
"Victoria Marshall in the role of Madame de la Haltière created a strong impression.
She has a rich and powerful voice, which was well-suited to the role of stepmother.
She performed with aplomb and humour, and her diciton was impeccable."
PIERRE MEUNIER / LA LIBERTE
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