...the most beautiful voice of the evening. Her luxurious mezzo was full of bronzed and chocolate tones... a good example of bel canto technique and interpretation…
- Laura Servidei, Bachtrack
Represented by
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Guillermo García Calvo, Conductor
Paul-Boris Kertsman, Conductor
Ulrike Schwab, Stage Director
Alevtina Ioffe, Conductor
Julia Lwowski, Stage Director
Rubén Díez, Conductor
Emilio Sagi, Stage Director
Rubén Díez, Conductor
Emilio Sagi, Stage Director
Rubén Díez, Conductor
Emilio Sagi, Stage Director
debuts as Siebel Faust, Aristea L’Orontea and La Baronessa di Champigny Il Cappello di paglia di Firenze and Curra La forza del destino at Teatro alla Scala, Maddalena Rigoletto at the Santa Fe Opera, debuts with Opernhaus Zürich, Preziosilla in a new production of La forza del destino, Olga Eugene Onegin, Zweite Norn and Floßhilde Götterdämmerung at Bühnen Bern, title role Carmen with Oviedo Opera, Verdi Requiem, Charlotte Werther in Ópera Nacional de Chile, debut at the Royal Ballet and Opera as Enrichetta I puritani, debut as Romeo I Capuleti e i Montecchi, Federica Luisa Miller, title role Giustino, Prinz Orlofsky Die Fledermaus, all with the Luzerner Theater.
Carnival Concert with the Polish National Radio Symphony Orchestra (NOSPR), Gala concert with Teatro Real Madrid, Beethoven’s Symphony No. 9, Mozart’s Requiem and Rossini’s Petite Messe solennelle, Mozart’s arias, Mahler’s Symphony No. 2, Verdi’s Messa da Requiem, Bach’s Weihnachtsoratorium, Bach’s St. John Passion, all in Brazil, Slovakia, Germany, and Switzerland.
First Prize at Concurso Tenor Viñas 2024, Third Prize and Public Prize at Moncerat Caballe Competition 2022, Grand finalist at the Neue Stimmen competition 2022.
Carmen - Seguedilla
Carmen - Seguedilla
Werther - Charlotte’s love declaration
Werther - Charlotte’s love declaration
Werther… Werther! Qui m’aurait dit - Ces lettres - Charlotte’s Aria
Werther… Werther! Qui m’aurait dit - Ces lettres - Charlotte’s Aria
Werther - Va Laisse couler mes Larmes
Werther - Va Laisse couler mes Larmes
NEUE STIMMEN 2022 – Final || Bizet - Carmen - "Seguidilla"
NEUE STIMMEN 2022 – Final || Bizet - Carmen - "Seguidilla"
Marcela Rahal, the Alpha and Omega of Bizet's Carmen captivated the audience. First, for her mezzo-soprano voice with its wide range, excellent lower register, and continuity in the middle and upper registers, combined with clear vocalization and a rich, beautiful timbre. Second, for her complete creation of the role of Carmen, who evolves naturally from a "petenera" woman or as Caracol calls "the downfall of men," to the ritualistic Carmen who accepts her fatal destiny rather than lose her freedom. The habanera, the seductive seguedilla of the first act, and the final duet are some of the high points of the Brazilian mezzo's excellent debut in Oviedo. We ask for her return!
The great triumph of the evening was undoubtedly the Brazilian Marcela Rahal, who debuted in the title role of Carmen in Oviedo. Possessing an imposing voice and great volume that never marred her clean agility, she delivered a Carmen that will not be forgotten in the city.
Marcela Rahal could not have asked for a better Opera debut in Spain. The audience was irresistibly captivated by the vocal and interpretive freshness of the young Brazilian. She won them over the from the very first moment with her rendition of "L'amour est un oiseau rebelle," the popular habanera. She drew the first applause there and continued to do so aria after aria and in all her duets with Don José. As Carmen and Don José, the Lovers and antagonists, moving towards a lethal destiny, fit together perfectly, musically and in terms of acting, and credibly recreated the romance between the protagonists, the initial infatuation, the heartbreak and the despair, up to the announced end foreshadowed from the beginning.
Charlotte was the wonderful Brazilian mezzo-soprano Marcela Rahal, who has a very beautiful and powerful voice. ...Her highly expressive singing won over the audience, who adored her.
Among the singing cast, Brazilian mezzo Marcela Rahal (Charlotte) emerges as the evening's big winner. Her dark, penetrating voice possesses a powerful reach and profound expressiveness, moving from contemplation to passion without losing elegance. Marcela Rahal creates a truly human, vibrant, and conscious Charlotte, mastering the French language and style with unbeatable musicality. I hope we'll enjoy her talent again in future seasons.
for Charlotte (…) Marcela Rahal is great in every single way, with a darker timbre, generous volume and exemplary performance power
Irresistibile per verve comica e presenza scenica il contralto Marcela Rahal, nel ruolo della procace Baronessa di Champigny, sempre in cerca di avventure galanti e generosa nel mostrare le belle forme. La sua forza maggiore è tuttavia nella vocalità: timbro scuro ma non cavernoso nel registro grave, brillantezza negli altri, mantenendo omogenea la bella qualità del suono.
Marcela Rahal nel ruolo della Baronessa di Champigny merita una particolare menzione per l’opulenza e suadenza timbrica, legato, dinamiche interpretative e sottolineature del fraseggio, proiezione generosa, volume ricco senza per questo indulgere in forzatura ma prediligendo al contrario emissione morbida e dinamiche ricchissime.
Senza dimenticare la splendida performance di Marcela Rahal nel ruolo della Baronessa di Champigny, nobilmente vogliolósa e con il pedigree da “vedova allegra”, che si trascina al guinzaglio (come Mistress col suo slave) un conigliesco e lezioso Achille di Rosalba scodinzolante
Here, it was Alidoro’s mother, Aristea, portrayed in this case by young mezzo-soprano Marcela Rahal, who was amazingly dressed and made up to resemble a middle-aged woman. She fully embraced the role of the lustful character, delivering a fun performance with her creamy, beautiful mezzo.
mentre Aristea ha i capelli bianchi, si dichiara madre di Alidoro e nell’originale del Seicento era un tenore a sua volta en travesti (qui è un contralto, Marcela Rahal, bravissima).
Marcela Rahal tratteggia con irresistibile ironia il personaggio della vecchia Aristea, vocalmente ben sottolineato dallo screziato impasto timbrico del mezzosoprano.
Marcela Rahal gibt mit wunderbar vollem, runden Mezzo einen Giustino von überragender Bühnenpräsenz: einen grundehrlichen, sympathischen Charakter, dem man den Aufstieg zum Kaiser uneingeschränkt gönnt.
Marcela Rahal bringt die böse Zauberin schillernd zum Blühen, weil sich der Wohllaut ihres Mezzosoprans gegen jede Keiferei behauptet
Und dann wird es rot um den Feld, und endlich tritt sie auf, die Mezzosopranistin Marcela Rahal, preisgekrönt erst kürzlich in Barcelona. Rahal ist Brünnhilde, sie lehrt Siegfried die Liebe und die Furcht, die Furcht vor dem Verlust, die Ehrfurcht vor dem Gefühl.
