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An unexpected ROLE DEBUT

Marta arrived in Rheinsberg, Germany and was supposed to sing one church concert during the Kammeroper Schloss Rheinsberg easter festival. But life can be unpredictable and she was asked to learn and cover the role of Iphigenie from Iphigenie en Aulide by Gluck (in 5 days!).


Kammeroper Schloss Rheinsberg was doing a production of Gluck's Iphigenie en Aulide, and as it turned out, the singer who was supposed to sing the role of Iphigenie was not feeling to well. So Marta ended up jumping in and sang the role from the orchestra after only a couple of days of preparation.


Marta's jump in at this performance received very good critic:

Die Aufteilung der Partie in eine lediglich schauspielende Miriam Albano und eine nur singende Marta Fridriksdottir klappte vorzüglich und hat der jungen Isländerin sicherlich neue Türen für ihre Karriere geöffnet.


english translation:

The division of the role between Miriam Albano, who only acted, and Marta Fridriksdottir, who only sang, worked perfectly and certainly opened new doors for the young Icelander's career.


from the Orpheus opera magazine (written by Thomas Lox)

...muss sich jedoch wegen Halsbeschwerden den glockenklaren Sopran von Marta Kristin Fridriksdottir leihen, die sich die Rolle quasi über nacht erarbeitete und Ihre sache mehr als gut macht. Die Lippensynchronität beider ist so perfekt, dass man mitunder vergisst, dass es nicht die Iphigenie auf der Bühne ist, die da so betörend singt.


english translation:

...but due to a sore troat, she had to borrow Marta Kristin Fridriksdottir's crystal-clear soprano voice, who worked on the role virtually overnight and does her job more than well. The lip synchronicity of both is so perfect that you forget that it is not Iphigenie on stage who is singing so enchantingly.





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