"Marly Montoni endowed Leonore with her velvety and dark timbre, which follows an infinite range of inflections when creating dramatic nuances. She knows how to project her voice, and none of the musical intentions escaped the audience, who greeted her with a triumph of applause."
Fidelio, Theatro Municipal de São Paulo
Jorge Coli, Concerto Magazine
Marly Montoni made her international debut in Nicosia, Cyprus, for the Pharos Artist Foundation in November 2022, and in 2023 she debuted with the National Symphony of Sodre in Montevideo, Uruguay, singing Verdi's Requiem.
Since her debut at the São Paulo Municipal Theater in 2017 as Leonora in Beethoven's "Fidelio," she has consistently participated in the seasons with roles such as Abigaille in Verdi's "Nabucco," Liù in Puccini's "Turandot," Stravinsky's "The Rake's Progress" as Anne, Verdi's "Aida," a soloist in John Adams' "El Niño," and for the São Paulo premiere of Andrew Lloyd Webber's "Requiem," Elodie Bouny's "Meia Lágrima," and João Guilherme Ripper's "Icamiabas."
She was a protagonist in G. Gershwin's "Porgy and Bess" at the Palácio das Artes in Belo Horizonte and was part of the Stable Ensemble of Theatro São Pedro, where she performed the roles of Odaleia in C. Gomes' "Condor," Wally in A. Catalani's "La Wally," Queen Elisabetta in G. Donizetti's "Roberto Devereux," and the second Maid in Zemlinsky's "Der Zwerg." She debuted the role of Cio-cio San in Giacomo Puccini's "Madame Butterfly" at the Teatro Sérgio Cardoso.
Previous performances at Theatro São Pedro include the world premiere of Jorge Antunes' "O Espelho," as Eufrásia, Fosca (C. Gomes), and Prokofiev's "Bodas no Monastério," as well as "The Telephone" (G. C. Menotti). She also participated in the "International Concert Series" alongside Italian bass Roberto Scandiuzzi in excerpts from Verdi's "Don Carlo."
She has also sung with the Campinas Symphony Orchestra, the Bahia Symphony Orchestra, and interpreted the role of Violet in G. Gershwin's opera "Blue Monday" at the Opera Festival of Teatro da Paz in Belém.
She has worked under the musical direction of Roberto Minczuk, Silvio Viegas, Luiz Fernando Malheiro, André dos Santos, Ligia Amadio, Abel Rocha, Gabriel Rhein-schirato, Fábio Mechetti, Carlos Prazeres, and under the stage direction of Juliana Santos, Bia Lessa, Caetano Vilela, William Pereira, André Heller-Lopes, and Cleber Papa.
"... Marly Montoni sang a truly sublime Summertime; her rich and expressive voice, her powerful high notes, brought life and great emotion to the words."
Porgy and Bess, Campinas Symphony Orchestra
Joge Coli, Concerto.com, March 2023
"The standout of the performance was soprano Marly Montoni, who portrayed Cio Cio San. From the beginning to the final scene, Montoni crafted an excellent interpretation with secure technique, vocal personality, and rich tonal nuances, offering moments of great emotion such as the duet with Suzuki or the scene of Pinkerton's letter reading. Also, due to Montoni's performance, the second act was the highlight of the show."
Butterfly, CIA OPERA SP
Nelson Kunze, Concerto Magazine 2019
"... the voluptuous color of her timbre, her beautiful low notes, and the admirable dynamic control in the long phrases. (...) moving, musical, worthy of any great theater on the planet."
"Turandot" at Theatro Municipal de São Paulo
by Jorge Coli, 11/27/2018
A Star is Born
"This took place at Theatro Municipal de São Paulo during the concert performance of Beethoven's Fidelio. This star's name is Marly Montoni. It was her debut in that noble hall, and in a challenging role, that of Leonore. But when she rose for her first intervention, in the quartet of Act 1, when she uttered the words "The danger is great" with a tone of melancholic anguish, one immediately felt that the truth of the character was there.
Marly Montoni is very beautiful, possesses a natural fine elegance, noble and expressive gestures, and radiates a charisma that draws the eyes. In this sense, she deviates from the conventional postures so often seen among opera singers and, so to speak, brings the characters she embodies to life from within. Before any movement of her, they are already there, in her soul. They shine through her eyes.
Leonore has a major scene in which she sings the aria "Come, hope", preceded by the recitative "Abominable!", in which she expresses her indignation against the powerful Pizarro. Marly Montoni gave her a velvety and dark timbre, capable of a vast range of inflections to create dramatic nuances. She knows how to project her voice, and none of the musical intentions escaped the audience, who greeted her with a triumphant applause."
by Jorge Coli, Concerto Magazine 04/11/2017