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Marlin Miller

  • Tenor

Reviews

Marlin Miller press reviews

Death in Venice - Teatro la Fenice - November 2008

Opera Magazine, November 2008.

Death in Venice at La Fenice, by Max Loppert.

This remarkable mise en scène demanded a remarkable leading man. In the American Tenor Marlin Miller the Fenice found itself a magnificent one. Some judged him too youthful, too fresh of face and trim of physique to fit exactly the bill of Mann’s and Piper’s “master-writer, successful, honoured, routine the order of my days, imagination servant of my will”, let alone an Aschenbach “vulnerable from the outset, an elderly man already crumbling into desiccated old age” – Michael Kennedy’s description of Peter Pears’s Aschenbach. But this, too, increased the impression of a protagonist active, not possible, and in Miller’s liquidly musical, crystal-clear shaping and combining of words and notes there was more genuine, free voiced tenorial beauty than I’ve heard even from those other admirable British Aschenbachs of my experience (the list also includes Anthony Rolfe Johnson.

Miller’s 2006 Tom Rakewell at Bologna was memorable; his Venice Aschenbach was spellbinding, a great account of a monumentally taxing role which deserves the widest international exposure.