Biography

Statuesque, standing 5’10” in her bare feet with blonde hair cascading down her back, Natasha Marsh dispels the preconceptions we have of opera singers. At 21 she graduated with a first in music and drama, from Birmingham University, and won a coveted scholarship to the Royal College of Music. With many critically acclaimed performances under her belt, and a highly respected soprano within the opera world, Natasha wanted to expand on her experiences and earlier this year stepped in to the recording studio for the first time. She recorded her debut album, ’Amour’, which hit the top of the Classical Chart week one and has cemented Natasha as one of the most exciting opera exports the UK has celebrated for over a decade.

‘AMOUR’, has given Natasha the scope to go beyond her natural home of operatic repertoire and record songs that touch upon her personal loves – film, contemporary music and of course opera. “The disciplines are so different. Performing opera demands a solid vocal technique which allows me to be heard above the orchestra without a microphone. In the studio my slightest breath or nuance can be heard. I could afford to use much more fragility in my sound and found the experience captivating,” she explains. “We (the British) have a terrible reputation for being cold, and our international stereotype is always of a people incapable of expressing our emotions. I wanted to record songs that allowed me to be passionate, expressive and romantic,” she explains with a fiery glint in her eye. “Every song on this album means a lot to me. The opening song ‘Si Un Jour’ is the theme from one of my favourite French films ‘Jean de Florette’. We had the opportunity to write new lyrics which were sensitive to the film script. It was so exhilarating to take a piece of music on a personal journey, from writing lyrics, then to perform it in the studio and make it my own. ‘Autumn Leaves’ is another beautiful track, the lyrics are so poignant, we’ve all fallen in and out of love and the imagery the song evokes, touches my soul.”

Natasha was born in the beautiful countryside of Brecon, Wales. The oldest of 3 children, the family moved to Devon when she was one year old. All 3 siblings were brought up in a household immersed in music. “My dad is an accomplished pianist and Director of Music at the European School and my mum a prolific vocal coach who’s involvement in music education is well documented. Our house was never peaceful, I’d come home from school, my father would be on the piano, my mother would be singing, one of my brothers would be playing bass and the other would be playing his drums. I’d run in from school and hurtle up the stairs to put down a new song I’d just written – my poor mum, she was so calm. Thinking about it, we’re still a very noisy family,” she laughs.

When Natasha was 7 years old she watched The Sound of Music, she was spellbound! Although, thankfully for us she didn’t follow in the footsteps of Maria Von Trap, the experience was to have a profound effect on her. “When we were growing up I was such a bossy big sister,” Natasha admits with a cheeky smile. “I loved putting shows on for my family, I used to dress my brothers up and put them in different parts of the show,” she giggles.

That same year Natasha entered the European School and studied there through to the age of 18. “It gave me an incredible background for Opera” she explains. “It was a language based school so we were taught Italian, French and German alongside History, Geography and so on. The study was OK, but as soon as the bell went I was off doing drama productions, plays, music lessons and writing music at home,” she explains.

“The first concert I went to see was The Nolans”, she admits. “I was so impressed by their six part harmony, so when I got home I recorded all the parts separately and then put them together hoping I could recreate the concert. I was mesmerised by the music, but I also loved all the frocks and glitter,” she laughs. “I don’t know whether I was an average kid, I loved reading Smash Hits but my bedroom didn’t have pop stars on the walls. It was covered with Athena posters – except for one poster of Torville and Dean,” she admits laughing.

At 15 Natasha joined the National Youth Theatre. “It was an amazing learning curve for me. Once you pass the audition they treat you like a young professional. From learning about the costumes through to how to project yourself on stage – it was an incredible experience.”

It was when Natasha began studying at the Royal College of Music that she began to channel her abundant talent. “I knew my voice had potential,” remembers Natasha, “but I hadn’t really considered opera at that stage so I was very honoured to get a place. As soon as I started studying the art of singing and performing opera, singing in different languages and learning the process of developing a role, that was it, I was hooked!”

Natasha subsequently made her critically acclaimed debut with Grange Park Opera singing Jacqueline in Fortunio by André Messager; she returned to sing the role of Governess in Britten’s The Turn of the Screw. “The Governess was a real highlight in my career. I lived and breathed the part. Even when I got in my car to go home after the performance I had to make a great effort to switch from the Governess back to Natasha Marsh.” The press responded with the same passion “Natasha Marsh confirms her star potential…a Felicity Lott in the making.” (Sunday Times) “Natasha Marsh breathed enough night-sweat into the phrase ‘he could see how well I do his bidding’ to steam up the theatre. Hers is a wonderful performance of gradual unhinging, sung and phrased with levels of suggestion rarely heard…” (The Times). Natasha has gone on to build credible and impressive CV in the opera world.

“There’s so much beauty and power in opera,” Natasha says. “I love every minute of it – from the first day of rehearsals you’re exploring details of the character, developing the role in your voice, getting to know your character. The costumes are so important too – I find shoes are vital to the character, the way you wear them and therefore the way you walk in them. It’s easier to portray a role once I’ve got the shoes on; I get so involved in the role, the build-up to opening night is often a rollercoaster ride and it’s important to pace myself so I’m not exhausted for the premiere!”

Natasha glides seamlessly from recording artist to enchanting Opera Houses around the world. Her beautiful, debut album, ‘AMOUR’, puts her firmly on the map as a celebrated, international recording artist.