Viktoria Vizin

Mezzo Soprano

Viktoria Vizin has displayed the elocution and musicianship to lift her very first entrance to the top. While she has devoted a significant portion of her concert schedule to the great works of song literature, and has performed this repertoire to international acclaim, she is perhaps best known for her work with major orchestras and opera companies in the worlds foremost music center's such as London, Germany, Switzerland, Italy and Ireland among others.

Regarded by many leading critics as an ideal interpreter of the Mezzo Soprano vocal style, Viktoria Vizin is one of the few mezzo-sopranos to have performed to international acclaim. The scope of the vocal colors elicited by the diverse nature of her repertoire has produced an equally varied perception of her vocal range. 

Viktoria Vizin is highly regarded for her ease of creating an atmosphere through melody and texts of many languages, she has established a reputation as an artist of exceptional communicative ability.

Her dedication to the heritage of the art song prompted The London Times John Allison to remark: "Mezzo-Sopranos of star potential include the Hungarian Viktoria Vizin". He also remarked: " Tall, elegant, beautiful and possessed of a rich-toned Mezzo, she is worth watching"

Scottish Opera: Werther, Theatre Royal, Glasgow By David Kettle 

Saturday 16 February 2013 02:00 

Viktoria Vizin as Charlotte and Jonathon Boyd as Werther.

©James Glossup

WITH an arch-Romantic hero who comes to a sticky end after falling for a woman promised to another, Massenetís 1892 opera Werther is ñ depending on your point of view ñ either one of the great operatic love stories, or a study of somewhat deranged obsession. 

Pia Furtadoís new production for Scottish Opera treads an occasionally precarious path between those two points of view. It often aches with big-hearted desire, yet her decision to place Werther as immovable presence observing everything from the wings casts a sinister shadow ñ one thatís continued in Oliver Fenwickís sometimes crepuscular lighting. Thereís some beautifully evocative storytelling choreography, especially during the orchestral interludes, but at other times things can feel strangely static.

Nevertheless, in vocal terms the production excels. American tenor Jonathan Boyd makes a muscular, determined Werther, one far from the introspective dreamer we might expect. His clear, focused voice and sometimes steely tone might seem jarring in the productionís first two acts, but are entirely appropriate as his character becomes increasingly unhinged. Viktoria Vizin is spellbinding as Charlotte, the object of Wertherís affections ñ wide-eyed and oblivious as his desire blossoms, yet wracked with guilt in her moving final scene, a masterpiece of joyless desperation.

But in terms of passion, the real emotion comes from the pit: the Orchestra of Scottish Opera have never sounded so good. Under Francesco Cortiís sure direction, they convey Massenetís turbulent emotions in grand sweeps of surging sound, yet remain ever sensitive to the musicís subtler moods.