“Molomot was an Arnalta who upheld Seventeenth-Century conventions but set a standard of his own in the rôle…Arnalta’s lullaby for Poppea, ‘Oblivion soave,’ is one of the most exquisite pieces in Seventeenth-Century opera, and Molomot sang it with piercing expressivity that so entranced the audience that merely breathing seemed to disturb the scene’s serenity…Cuing singers […]
“The orchestra, with Vinikour conducting from a harpsichord and flanked by a quartet of period string instruments and two theorbos, gave a wonderfully refined, articulate performance of Monteverdi’s score…Marc Molomot (Arnalta) was a complete comic delight.” -Read more at the Milwaukee Journal-Sentinel.
From 6 Reasons to go see the MSO Perform Handel’s ‘Messiah’ 2) All four solo vocalists deliver stunning performances. Soprano Ellie Dehn, mezzo-soprano Andrea Hill, tenor Marc Molomot and baritone Hadleigh Adams are absolutely radiant in their solo performances, bringing technical agility and depth to Handel’s score. It’s a real treat to see vocalists of […]
“Late last year the Houston Symphony earned its first ever Grammy Award nomination for best opera recording with “Berg: Wozzeck.” Surprising almost everyone involved, the recording won the Grammy Sunday evening in New York….The Grammy was preceded by another huge honor for the symphony; it received the prestigious ECHO Klassik award last fall in Germany.” […]
“Coming on the recent heels of winning the equivalent of a European Grammy known as the ECHO Klassik Award, the Houston Symphony has now earned a nomination for an American Grammy. It’s in the category of Best Opera Recording, and it’s for their recording of Alban Berg’s Wozzeck, the title referring to the tragic main […]
“In this performance, that voice belongs to tenor Marc Molomot, whose intrepid singing of the Hauptmann’s angular, awkwardly high-lying music is one of this Wozzeck’s greatest strengths. Precisely what motivates the Hauptmann’s idiosyncratic actions is one of Büchner’s and Berg’s gnawing enigmas, but Molomot, ever a shrewd artist with an uncanny ability to topple façades […]
“It was meant to be nasty inside as well. The O’Neill (formerly the Center Theater) had been turned into Club Fairy Queen in “sultry Las Vegas,” and on offer was “A Midsummer Night’s Dream” package….It is Puck who undergoes the most touching transformation. Moreover, the example of a brilliantly Falstaffian performance by French tenor Marc […]
“The nucleus around which the supercharged particles of this Fairy Queen whirred was the Puck of tenor Marc Molomot… The tenor’s voicing of the epithalamium ‘Thrice happy lovers’ was the performance’s finest instance of Purcellian vocal authenticity.” — Read more at Voix des Arts.