Samuel Marino, Venezuelan soprano of a new type

On his first album, he barely smiles and wears a sober T-shirt. For his second work, published by Decca, in 2022, Samuele Marino looks transformed: laughing out loud and wearing an extravagant costume (a sheer white tulle coat that falls on a majestic heel). “When I sing, I come to disturb this little world of white people, who they look like. So what, because I’m a man, should I sing low and put on pants?” Is he having fun near the Parc des Beutis Chaumont, at 19^H Paris Circle, where he shares his time with Berlin.

The 29-year-old Venezuelan opera singer will complete a series of three concerts in France on Monday, March 20, with a recital in the Hall of Mirrors of the Palace of Versailles, accompanied by the Royal Opera Orchestra. Like the Baroque style he frequently interpreted, Samuel Marinho is troubling. He knows it and plays it. With her high pitched voice and borrowing her clothing style from all over her closets, the artist frees herself from the conventions of singing and genre. Carrying a supposedly political rhetoric in the still very traditional world of classical music, he displays on stage his identity as a gay man and openly celebrates his ****sexuality in his Instagram account.

Samuel Marino wears it proudly his “tool”, Soprano voice, an extremely rare condition for a male since the death of the last castrato, the Italian Alessandro Moreschi, in 1922. These most sought-after stars traveled from court to court in the late seventeenth century.^H XVIII century^H a century. After 1830, the castrati was no longer sung except in Italian churches, only to eventually remain in the Sistine Chapel. It follows Yseult Martinez, Doctor of Modern History, specialist in Castrati at the University of Angers. Unlike the Meters, whose seductive range requires switching to a head voice in order to climb, Samuel Mariño’s natural voice is, from the outset, high-pitched.

Piano and choir as shelters

However, the road to acceptance was long. At the age of thirteen, young Samuel, a pupil at a Catholic institution in Caracas, experienced ridicule of ****phobic insinuations in his high-pitched voice. A victim of psychological and physical harassment, in class and on networks, he escapes from the school system and takes refuge in the piano and choir. “I had suicidal thoughts,” he admits. One doctor, then a second doctor, offered to operate on his larynx to make his voice deeper. And the third suggests that he instead accept his voice and listen to the lyrical singing. In her playlist at the time, divas Beyoncé, Lady Gaga, Cecilia Bartoli and Philip Jarowski, stars of opera singing, meet.

You have 53.28% of this article left to read. The following is for subscribers only.