Marion will be performing a selection of sought-after solo works by the trailblazing Finnish composer Kaija Saariaho, along with Carla Huhtanen (soprano), Aiyun Huang (percussion), Rachel Mercer (cello), and Camille Watts (flute/piccolo).

Kaija Saariaho is one of Europe's most recognizable composers, but her success hasn't always translated to popular acquaintance on these shores. There are many who are trying to correct this oversight, including Carnegie Hall, where she will be Composer-in-Residence for the 2011-12 season, and the Canadian Opera Company, who will present her opera L'amour de loin in 2012. For those who are interested in getting to know her music, and for those who already do, the Music Gallery presents a selection of her solo works as interpreted by some of Toronto's finest performers. From the Grammar of Dreams is one of Post-Classical Series curator Gregory Oh's favourite vocal works of all time, boasting a haunting libretto drawn from the work of Sylvia Plath and an extraordinary understanding of how to write for the voice. Sept Papillons will be of interest to opera lovers, having been composed right after the conclusion of L'amour de loin, mostly while watching rehearsals in Salzburg.

Programme
From the Grammar of Dreams (1988)
texts by Sylvia Plath - for two female voices

NoaNoa (1992) for flute and electronics

Six Japanese Gardens (1994)
in memory of Toru Takemitsu - for percussion and electronics

Sept Papillions (2000) for solo cello

Dolce Tormento (2004) for solo piccolo
  

AMOR BRUJO AND CARMEN
HEAT UP A WINTER NIGHT

In the February 2011 Peterborough Examiner review by Timothy McGee, Marion's performance with the Peterborough Symphony was described thus:

"Mezzo soprano Newman was featured in two works: Manual de Falla's El Amor Brujo, and two arias from George Bizet's opera Carmen. The vocalist is limited to a couple of dramatic statements and one beautifully melodic song (in the Amor Brujo), all of which give the audience a clear introduction to the extensive vocal talents of the soloist. But it was in the Bizet arias where Newman really shone. In addition to a beautiful, velvety voice, she has an enormous breadth of vocal colours as well as an agile technique which allowed her to move with ease from dark brooding passages to bright, sprightly moods as the music demanded. Newman is also a consummate actress and she brought this talent into play by expressing the songs with facial and body gestures in such a way that her performances of Seguidilla and Gypsy Song completely enchanted the audience."
 

CENERENTOLA HAS VERY
WELL-DRESSED STEP SISTERS!

Marion (in purple) performed the role of Tisbé in Pacific Opera Victoria's gorgeous and much lauded production of Cenerentola this season.

"The bulk of the comedy is provided by terrific singer actors... [including] Marion Newman as his petty, preening daughter... convey larger-than-life personas and sing with an easy virtuosity." - Times Colonist review, October 2010
 

NATIVE EARTH OPERA PREMIERE

Marion performed the role of Noodin-Kwe in the premiere of Spy Dénommé-Welch and Catherine Magowan's Giiwedin, Directed by Maria Lamont, with Gregory Oh Conducting.

View the full poster
 

GIIWEDIN REVIEWS
 
"The cast rose to the occasion and gave a committed ensemble performance. Marion Newman, as Noodin-Kwe, displayed a clear mezzo with an impressive range. She was well paired with the smooth baritone of Jesse Clark as Jean." - Colin Eatock, the Globe and Mail
 
Read the full review here!

"Marion Newman (Noodin-Kwe) came to the project with an already formidable reputation. She has a gorgeous voice, lustrous and burnished in sound, which she can bend at will, whether as a soft lullaby for her child or a singing declamation against injustice." - Paula Citron, Opera Canada

"But the greatest accolades go to the committed, passionate and enthusiastic cast, led by First Nations mezzo Marion Newman, who successfully brought to life Noodin-Kwe, the fictional and symbolic 150 year old native woman fighting for her land. Yes, I believe those were real tears on her face at the end of the final scene." - Joseph So, La Scena Musicale

"One would like to hear more from Noodin-Kwe... Newman’s rich, powerful voice is ideal for Noodin-Kwe, so much so that we would like longer arias simply to showcase it." - Christopher Hoile, Eye Weekly
 

THUNDERBIRD WITH ARADIA ENSEMBLE

On May 15, Marion performed Thunderbird, an original work centered around a Newman family legend.
 
A Thunderbird mask, carved by Marion's father, Master Carver Victor Newman, was danced by traditional Kwagiulth dancer Jason Taylor, who was accompanied by renowned drummer and singer George Taylor.
 
The remainder of the program was made up bird inspired music from the Baroque era performed by the Aradia Ensemble with weather and storm related themes. Ending the concert was a new work by Dustin Peters, which meshed the Baroque style with Aboriginal Arts.
 
More information is available here!
 

EARLY MUSIC AMERICA RINALDO REVIEW

Marion's role in the Naxos recording of Handel's Rinaldo has been very positively reviewed in the Vol 15, 2009 issue of Early Music America Magazine:
 
"Marion Newman is the vocal surprise of this recording, showing a remarkable versatility for such a short role; she has a magnificently full bodied voice reminiscent of Jennifer Larmore's in her "Mio cor, che mi sai dir?" and a tamed, almost without vibrato, and androgynous tone in "Sorge nel petto."
 
Read the full review here!