In Mozart’s day, the vocal typologies that we know today were yet to be established. Women were sopranos, castrati were castrati, and Mozart wrote for personalities and vocal colours rather than for abstract voice types.

Providing we set aside the labels that are used nowadays, a female singer can cover a whole range of expressive and dramatic possibilities in Mozart’s works, and take on the roles of many different characters, including those belonging to the rich repertoire that Mozart bestowed on castrato voices.

With the help of Stephan MacLeod, at the helm of his ensemble Gli Angeli Genève, Marina Viotti has put together a programme that embraces the diversity and versatility of Mozart’s vocalism.