Becca Anne Marriott – Soprano
"Especial praise must be given to Becca Marriott as Tosca who looked every inch the diva and sung with passionate relish; her Vissi d’arte was memorable."
— Sameer Rahim, The Telegraph
Becca Anne Marriott is a sought after emerging lyric-spinto soprano. She is an associate artist of the King's Head Theatre, and has co-created two critically acclaimed re-imaginings of verismo operas for them: La Boheme (2016) and Tosca (2017). The latter won the 2017 Off West End Award for Best Opera Production, and the former received a five week West End transfer over Christmas 2017/18 and was nominated for the Olivier Award for Best New Opera Production 2017, narrowly missing out to The Royal Opera House. In both operas she sang the leading ladies - Mimi and Floria Tosca. She is currently collaborating on a new adaptation of La Traviata for them.
Becca recently returned from the Island of Crete, where she sang the title role in Puccini's Suor Angelica, as a founding member of Minotaur Opera. The first ever fully staged opera to be performed on the island, the production received huge press coverage and rave reviews.
In 2017 Becca sung Cio-cio-san in Paul Higgins' adaptation of Madam Butterfly, with a libretto by Amanda Holden, for The King's Head Theatre. She also made her Grange Park Opera debut as Ortlinde in Stephen Medcalf's widely praised production of Die Walküre, under the baton of maestro Stephen Barlow. Her busy summer was rounded off with two major roles for Opera in the City, Silvia in Mascagni's little performed gem, Zanetto, and Bianca in Zemlinksy's powerful thriller, A Florentine Tragedy.
During this very busy year Becca also won first prize in the AESS Senior English Song Competition, sponsored by the wonderful Patricia Routeledge, and performed as part of The London Song Festival in the AESS Winners' Concert.
Becca is a lecture recitalist for Opera Prelude, a charity which nurtures the opera stars of the future, providing performance and learning opportunities. Becca recently performed in a Masterclass for Renato Balsadonna of The Royal Opera House, and has given several, highly praised, lectures on both opera and literature for the company at their base in the Cadogan Hall. In 2015 she won Opera Prelude's Della Jones Song Prize, and was chosen by the internationally acclaimed mezzo to receive a study bursary to work with her. She has also sung in masterclasses with Rosalind Plowright and Susanna Stranders for Opera Prelude, and will be singing for Janis Kelly as part of their 2018 programme.
Becca is a graduate of Trinity Laban Conservatoire of Music and Drama, where she studied under Alison Wells, and where she was supported by the Morag Noble Scholarship, and won the Roy Pleasance Prize for voice and orchestra. She was awarded leading roles in both college operas during her two years there, finishing her studies by performing the role of Nitocris in a staged production of Handel's Belshazzar, directed by Emma Rivlin and conducted by Nicholas Kraemer.
"The star among the youthful cast is Becca Marriott, giving an intense and tuneful voice to the title character, Floria Tosca...she is utterly convincing as the feisty, petulant diva." — Jonathan Lennie, TimeOut
"But it was Becca Marriott’s performance as Mimi that really grabbed the show. She was at once vulnerable, lovable and abhorrent: a substance abuser, a street beggar selling her body but also abusing her relationships with those who love her. In the final, tragic scene people were close to tears." — David Winskill, Islington Gazette
"Becca Marriott gives a spine-tingling performance as the abandoned Butterfly...The night belongs to Marriott and one hopes she’ll be able unleash that power some day on a larger stage." — Inge Kjemtrup, The Stage
"However, Becca Marriott’s elegant Silvia is drawn with high psychological realism as an older woman convinced her love is “fatal”, a conclusion drawn, we suspect, from tragically low self-esteem as well as some sad previous experience...this fragile, haunted woman, eventually leaving her with anxiety and regret. With exceptionally fine singing" —Charlotte Valori, Bachtrack