By Joana Patacas, on March 3, 2024*
Soprano Rita Marques shines on national and international stages, standing out for her voice full of talent and passion, which captivates and moves the audience.
Her trajectory in the operatic universe is marked by memorable performances that range from the enigmatic Queen of the Night in Mozart's " Die Zauberflöte ", a role with which she debuted in 2016 in a major opera production, in Mechelen, Belgium, to the emotionally complex Lucia, titular figure of the opera “ Lucia di Lammermoor ”, which was on stage at the Teatro São Carlos, in 2023, highly praised by critics:
“The person who brought her to the stage was Rita Marques, soprano, in a role of enormous technical and expressive demand. Rita Marques was up to the task. More than that, he made this Lucia his own, he knew how to give her life and color, if one can give life and color to a ghost.” ( in Público , 2023)
She received a scholarship from the Calouste Gulbenkian Foundation/ENOA and attended the Center de Perfeccionament Plácido Domingo , the tenor with which she took to the stage in 2017, at the concert at the MEO Arena, in Lisbon, a moment she will never forget.
“Placido Domingo didn't disappoint anyone at Rádio Renascença's 80th anniversary show yesterday in an almost full Meo Arena. (...) as well as the Portuguese soprano Rita Marques, who drew her first big ovation when she played Mozart's Magic Flute. (...) discreet but with powerful interpretations.” (in Diário de Notícias , 2017)
He stood out in international competitions such as Operalia , and among his awards are the 2nd Prize and the Audience Prize in the 10th Singing Competition of the Portuguese Rotary Foundation, in addition to the Municipal Medal of Cultural Merit of Caldas da Rainha, which attest his excellence and the impact of his art.
In this interview conducted by Joana Patacas (JP), Rita Marques tells us about her journey, which has always been guided by devotion to music and commitment to the art of opera.
JP: Hi Rita, welcome. What is your first memory linked to singing?
Rita : The first time I sang in public was on December 18, 1993, at the Christmas party at the kindergarten I was attending at the time. Before that, the memories I have are of seeing myself on video, because they filmed me doing concerts at home with a pen as a microphone. In fact, I don't remember myself without singing. It's part of who I am.
JP: Was there anyone in your family with whom you shared your love of music? How did you join singing groups at such a young age?
Rita : My sister was part of traditional Portuguese music groups. We have an age difference of 11 years. So, often, when she went to rehearsals, I ended up going too, until they gave me a ukulele and I started playing by ear and seeing what others were doing. From there to singing, it was a quick step.
JP: And how did you discover your passion for classical singing?
Rita : At the time, I was part of the Alma Nova de Óbidos Choir. I was about 14 or 15 years old. I can't say for sure what year it was, but in one of the editions of the Óbidos Opera Festival they needed people to reinforce the group of extras for a production of “Carmen”. It was summer, and I, as a typical teenager at the time, refused and didn't go because I preferred to go on vacation to the beach. The following year, I believe in 2006, the person responsible for producing the Festival da Câmara de Óbidos and my friend, Filipe Pessanha, called me one day in August and said something like: “This afternoon you will be at the castle fence because you will appear in the production of Madama Butterfly. And I'm not asking if you want to.” And I went there, accompanied by my father, as always. The next thing I knew, I was white-faced, dressed in a colorful kimono and with flowers in my hair, learning to walk in sandals and socks. I was immediately invited to sing in the choir of the production of Don Giovanni, which went on stage a few days later. I sang in this choir and I haven't stopped since. The opera entered me.
JP: Can you share with us a memorable memory from your first solo performances?
Rita : The most memorable memory I have in my life comes from the time of the Song Festivals, which in practice were competitions. But we were children, and there was always concern about not being too swallowed up by unhealthy competitiveness. So, my most important memory is of my mother's voice, who was the one who dressed me before a festival, when I was still a little girl, and when we left the dressing room for me to sing in public, she always said to me beforehand: “Don't forget that the important thing is to do a good job.” I still think about it today every time I step on stage: the important thing is to sing well.
JP: Was choosing between Radiology and music a difficult decision?
Rita : It was. I actually had to leave Radiology aside, even though I loved the course. It was a really interesting area, which I really liked, just as I really liked the school, the teachers and my class. However, I couldn't do everything well, due to the immense workload. So, of course, the decision was difficult, and in reality, we will never know if it was the right one or not. But I felt that it was what made sense to me at the time and I believe that I would decide the same way today.
JP: During your musical training you must have come across some challenges. How did you overcome them, and how did they shape your personal and artistic growth?
Rita : The same way I deal with challenges nowadays: with work. Leaving our comfort zone is always a good thing, it makes us grow, whatever the topic. When I started learning solfeggio, it was also difficult for me to read the names of the notes, but with work, anything can be achieved. Nowadays I obviously have different challenges, but the way to overcome them is the same and the only one I know: with work.
JP: You have played notable roles in several operas, including Queen of the Night, Lakmé and Adina. Are there any of your performances that you consider to have been a turning point in your career?
Rita : I like to think they are all turning points. I believe that the path is made with steps, some bigger than others, that take us further. The Queen of the Night, in 2012, was an important role, yes, but so was the shepherd of Tosca in 2008, at the Óbidos Opera Festival. And Lakmé, in Valladolid and Adina in my first main role at São Carlos… Every score I studied taught me something. Even today I like to look at scores this way, always finding some point of learning. In fact, being able to learn something every day has always fascinated me in this profession. So, all the roles I've played so far have been important for me to be who I am today as an artist and, I dare say, as a person.
JP: Your collaboration with Plácido Domingo at the MEO Arena concert, in Lisbon, must have been a memorable moment. Can you describe this experience and what it meant for you?
Rita : It was, in fact, very remarkable, yes. It's difficult to express in words. From Maestro Domingo's invitation to the concert, I felt enormous generosity on his part. I was treated exceptionally by the production, in rehearsals and at the concert, and equal generosity was demonstrated by Maestro Kohn, soprano Davínia Rodriguez, Kátia Guerreiro and the Orquestra Sinfonietta de Lisboa. I felt very welcome by everyone. Going on stage and seeing those thousands of people in front of me sent a shiver down my spine, but in the end, the important thing is to sing well and be happy.
JP: In 2017, you took on the lead role in " Lucia di Lammermoor " at the Teatro Nacional de São Carlos, an important milestone for any soprano. How did you prepare for this challenge and how did it feel to play this role?
Rita : Lucia was (and is) one of my dream roles. Receiving the call with the invitation was, at first, difficult to believe. But then, when I arrived at the theater, the entire atmosphere was so welcoming, with everyone so helpful in helping me, that the conditions were in place for a very happy moment. Sharing the stage with such generous colleagues was something supreme, which I will carry with me forever. The preparation for this moment began more or less in 2018, when I picked up the score for the first time, very scared, as I didn't know the role and had a lot of respect for it. But I studied first the first aria, then a part of the final scene, then the great cadenza, and then the rest of the role. That's how I built Lucia Ashton. I like to have the characters clear in my head, ready to then receive instructions from the director, which may or may not be in line with what I had previously thought. But it's important to feel like Lucia and not Rita when I sing, whether for Lucia or any other character. I really like this process of bringing the characters to life.
JP: Having already achieved significant success, what are your future goals in opera?
Rita : I have an important project that will be released in due course, with news expected around mid-April or early May. In May, I will play the role of Nannetta in Falstaff, at São Carlos. My main goal is to be happy, which involves singing roles that I identify with. However, the opposite is also enriching, as it increases the level of challenge. I genuinely enjoy learning every day.
JP: Are there specific roles or projects that you dream of doing in the coming years?
Rita : Yes, but I prefer to keep them to myself.
JP: The artistic life is demanding. How do you relax and maintain your personal balance off stage?
Rita : My time is usually very limited, so I can have space for everything and maintain balance. Reading, watching films and series, walking on the beach, being on a terrace – all of this is important. But most of all, I value quality family time.
JP: What advice would you give to young opera singers who are starting their journey into classical music?
Rita : Every day I refer to what I learned when I was little, the most important thing is to sing well. This includes respecting the composer, the score, the technique, the text, the character, eating well, resting well, exercising the body, maintaining mental balance. I like to have a holistic view of singing.
JP: Having worked with big names like Plácido Domingo and participated in international programs, is there any lesson or inspiration you would like to share with future opera talents?
Rita : Experience has taught me that everyone must make their own path within what they think is most correct and balanced for themselves at each moment, and that's okay.
Profile photo of Rita Marques by Sónia Godinho
*Interview with soprano Rita Marques originally published at www.proart.art
Joana Patacas - Communication and Content Advisory
Want to know more? Watch and listen to one of their beautiful performances below:
Upcoming performances:
TNSC Main Room May 11, 13, 15 and 17, 2024, 8pm
May 19, 2024, 4pm
You can find more information about Rita Marques at: