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Opera singer Marina Viotti recently made headlines when she attended the Olympic Opening Ceremony with Gojira. Encounter

At the center of the news since his memorable performance on the Nave in front of the ramparts of the Conciergerie while Gojira shouted loudly, Marina Viotti represents one of the illustrations of the mixture of genres imagined by Thomas Jolly, director of the Opening Ceremony of the Paris Olympic Games and Victor Le Masne, musical director.

A recognized lyrical singer and holder of a Victoire de la Musique Classique in 2023, she is however no stranger to rock and metal and is also part of this desire to cross artistic borders. After a remarkable passage, seen by millions of spectators, the multi-faceted performer agreed to answer questions from the editorial staff.

How were you approached to participate in this event?

I was called around October 2023. At first, I didn’t believe it. It turns out that I had already met Thomas Jolly, he had come to a rehearsal during which I was giving an interview. I explained in particular the links between metal, rock and opera. I think it was after hearing me talk about it that he thought of me. However, I have been an ambassador of mixing genres for years, particularly between metal and opera. So I was very happy that this materialized in this proposal. At that time, they had several leads regarding the group that would accompany me. It was only a few months later that I learned it was Gojira. It was Christmas! I didn’t know them personally, but I have always been a fan of their personality, their message and their integrity. This remains for me one of the best French groups.

Let’s talk about your contribution in the adaptation of “ ça ira. »

They first made a first base in their studio in New York. For my part, I was in Zurich (Switzerland) during my first performance of Carmen. They called me on video while I was in costume, it was improbable! (laughs) The day after this premiere, I went to the studio in Paris with Victor [Le Masne] and I proposed lots of additions. We tested a lot of different things before arriving at the final result. It turns out that I also recorded the voice of the decapitated woman we see in the intro to the song. People don’t know it either, but I also growl [technique vocale utilisée dans le death metal] during the song. As for the Carmen part, I repeat the melody, with the text of “ça ira”. During my second visit, I cover a text and a melody from Carmen, which fits so well with the whole that you don’t necessarily realize it. We therefore push the mixture between metal and classical music to the maximum.

So you navigate between numerous vocal approaches in just three minutes.

I am known in the opera world for my vocal versatility. Before doing it, I sang metal, jazz, and even song. This is my strength. SO [Victor Le Masne] Told me to have fun. We had huge laughs in the studio, because I tested loads of different voices! (laughs)

It was the first time that we saw metal in such a ceremony, an even stronger symbol when we know that France does not necessarily have the reputation of being the country of metal. How do you feel about it?

I am very proud to be part of this event. This is something that I defend in all the environments in which I operate. When I was younger, I suffered from people’s idea of ​​metal. Some were afraid that I would fall into drugs, and there were also certain rumors about Satanism or neo-Nazism… So many clichés that I tried to dismantle at my level. I think it’s a historic event. Without wanting to make it mainstream music, I think we need to show that metal is not a genre that should be left aside, it is written music, and often well written. Here, we approach the theme of the French Revolution by mixing metal with lyrical singing, which is a revolution in itself. When you know something about it, you know that symphonic metal exists, but for most people, these two worlds never meet. Additionally, this painting links Revolution and love, with the inclusion of Carmen. This increases the reach of the message tenfold. Metal and classical music are the two most epic musical genres, whose mixture is explosive.

What about the feedback you have received?

I already have a community that follows me in the opera world. There I receive messages from thousands of metalheads from all over the world. I’m really passionate about metal, beyond having been in a band. I worked for a label, for magazines, I organized concerts… I was really into it and it never left me. It’s like a sign sent to the young metalhead that I was. I’ve been wanting to come back to it for a long time, you could say I didn’t do things by halves! (laughs)

An event also brings its share of refractory comments. How did you perceive them?

It’s normal, I even think it’s important to have debates, reflection and criticism. Out of the thousands of messages I received, maybe three of them called me a Satanist, I’ve experienced that so it doesn’t affect me. Others told me I supported the death penalty by participating in this painting. These people have no irony, no perspective, no critical thinking. We talk about French History with humor and class. This painting is theatrical and many much more violent works do not provoke such a reaction. We must also see further, this painting is Freedom and leads towards equality, hence the inclusion of Carmen and the message of love. This is the real revolution. I see it that way and it’s good if other people see it differently.

The mix of genres is an integral part of this ceremony, as well as of your artistic journey. Let’s talk about your approach.

It has always been part of my personality. I never wanted to lock myself in a box. I went through all the styles, whether it was reggae, jazz, song… Each time, I went all in, whether it was the style, the look or the community . At home, I listen to a lot of different music and each one brings me something specific. Vocally, it’s very enriching to explore diverse styles. In opera, I enrich my style with lots of colors that come from elsewhere. Rock music, for example, gives me a certain attitude on stage. Metal has given me a lot of things, and opera has brought me discipline and vocal technique. I like to bring together these worlds and do a sort of hybridization. I co-wrote a book with Gabrielle Halpern, What if the world was an opera?. In our opinion, the meeting of two worlds creates a third. It’s exciting, it allows you to never get bored, to always question yourself and adopt other points of view. Building bridges and breaking out of the boxes in which people try to lock us is the mission I give myself. I don’t like labels, but versatility is mine.

Hybridization also occurs in metal, whether it is symphonic or fusion metal. However, it is also an extremely codified genre, with many subsections. How is your desire for hybridization perceived?

When I was younger, I already perceived a hybridization of metal, particularly with fusion, but the sectarian aspect was also present. As in classical music, each subgenre has its codes, different ways of singing, different instruments and different looks. For example, we can very clearly differentiate between someone who plays baroque and someone who makes romantic music. However, it remains classical music. The same goes for metal, which is full of subgenres. But it’s human to want to create an identity. When metal mixes with something else, whether it’s symphonic metal, or electro with Rammstein, or when Korn collaborates with Skrillex, I think it’s great. I have always found metalheads quite open, while defending their own chapel.

How does this hybridization translate into classical music?

It is an art that goes even further in this approach. For example, we have hip-hop dance in baroque operas. I just took part in a play called Vivaldi’s Olympiadwith high-level athletes on stage, circus people, dancers, a real choir… Lots of people who apparently had nothing to do together found themselves putting on a show. The concerts are also starting to become hybridized, I see projects at the Cité de la Musique mixing orchestra, rap and dance. I also participated in another project mixing Vivaldi and hip hop. Young rappers from Saint-Denis found themselves on an opera stage in Nice. As they don’t have the codes, they harangued this crowd a little older than their usual audience. This freshness and spontaneity woke everyone up. For me, hybridization makes no sense if it does not allow mutual enrichment, which was the case here. The mix also happened at the Paléo Festival this year: the same day, I was on stage with Roberto Alagna, and the same evening Maître Gims played.

The mix of genres will also materialize in your next project: In Darkness Through the Light.

This is a very personal and very important project for me. It talks about a part of my life that is not funny and evokes a fight between darkness and light. This album links titles by John Dowland, written for lute and voice during the Renaissance, whose very melancholy texts could be written today, with current titles, which range from Lana Del Rey to Johnny Cash , through Metallica or Björk. The universe takes on a gothic color. For me, it’s not classical music strictly speaking, but all the instruments are analog. I sing there with a more natural voice, not a lyrical voice.

You said you wanted to return to metal in one way or another. Do you have any thoughts on this?

I’ve had a project in mind for three years, mixing metal and baroque. There would be a first part with baroque music played with metal instruments and a second with metal music played with baroque instruments. Ideally, I would like to be accompanied by a metal singer, why not Floor Jansen (Nightwish) or Till Lindemann (Rammstein). I would make them sing songs by Vivaldi or Handel. Hybridization has to work both ways, so I would like to bring them into this universe. Everything is in place, now it has to happen, I think what happened at the Olympic Games helps me. Ideally, I would like this to take place as a collaboration between a metal festival and an opera house. I’m currently working on it.

Floor Jansen would be a consistent choice, as she has already participated in projects mixing metal and classical music.

There is also a consistency for me, since it has a great influence on my career. It was actually while listening to After Forever (a group in which Floor Jansen sang from 1997 to 2009) that I decided to sing in a group.

Mathieu David

Marina Viotti official website