I remember myself as a small child, daydreaming beneath the broad leaves of the wild mallow plants that grew in the orange orchards. I was intrigued by, and mothered all of the animals that I found, including ants, snails, cats, dogs and even a lost horse.

I grew up in what used to be a farming community near Tel Aviv. I was an only child, with divorced parents. Nevertheless, my mother gifted me with a special name: Bavat Marom, the apple of Heaven’s eye – a perfect stage name. It was clear to everyone around me, that I was destined to become an artist. I was so absorbed when I painted, that time seemed to evaporate. I wrote poetry, I danced and I sang. The complex operas and symphonies that I heard in my head as a child determined that I belonged to a world of music. I tried to draft this music, but I could not, because I didn't have the tools. At the age of four I began to study ballet, and by the age of nine I supplemented ballet lessons with acting lessons.

At the age of ten I had my first solo painting exhibition and managed to compose the music for a puppet show. Painting was my first language, but the musical arts captivated me more. Nevertheless, my teachers provided enormous support for my efforts in all of my artistic tendencies: as a painter and as a musician, composer and performer. When I graduated from Telma-Yelin's High School for the Arts, I received the Award of Excellency for my final project of musical sculptures.

While I was doing my mandatory army service in Israel, I was able to study composition with the celebrated composer Abel Ehrlich, who urged me to take voice lessons as part of my education. The day I was released from the army, I was off to Salzburg, Austria to follow my new dream of singing. Professor Rudolf Knoll from the Mozarteum accepted me as his pupil. For an entire year, he generously granted me his time every day as a token of his belief that my untrained voice had tremendous potential. Our dedicated work won me a full scholarship at the Mozarteum. Apart from voice lessons, I studied Lied interpretation with Paul Schilhawsky, and immersed myself almost completely in the study of poetry of the romantic period. My stay in Austria was not limited to student activities. Sony Corporation provided a work permit for me after discovering that I had exceptional hearing abilities qualifying me for work doing sound-checks at their Anif CD-plant. In my spare time I worked as a fashion and runway model for many prominent designers.

Three years later, I was invited to sing at a private concert in New York City. Without my knowledge, my accompanist at this concert, Eitan Pessen urged Mikael Eliasen, the head of the Voice and Opera department at the Curtis Institute of Music, to listen to my unusual voice. The following morning, after singing for Mr. Eliasen, The Curtis Institute of Music offered me a scholarship and the opportunity to accept the last available spot in their upcoming program. I accepted and had a wonderful time there. My classmates were so talented: Juan Diego Florez, John Relyea, Eric Owens, Rinat Shaham, Siphiwe McKenzie, Schuler Hensley, Marcel Rejans, Michael Dean, and others. Every Friday afternoon we had tea at the Tea Room and homemade brownies served by sweet Mrs. Graffman. We were like one crazy family. I participated in many master classes with Betty Allen, Todd Duncan, Anna Moffo, Tom Krause, Regina Resnick. With the legendary Galina Vishnevskeay, we prepared Pique Dame in which I sang the part of Pauline. After five happy years, I completed my Bachelors Degree in voice and my Masters Degree in Opera. I performed roles such as Orlofsky, The Sorceress, Arnalta, Berta, Meg, Lavinia and Jennie as well as many concerts and recitals of works by Mahler, Mozart, Bach, Schubert, and song cycles that Abel Ehrlich wrote for me. I sang with the Opera Company of Philadelphia, Opera North, Rockland Opera, and Memphis Opera.

At that time I participated in vocal competitions. One of them, the Luciano Pavarotti International Vocal Competition, bears a special memory. It took place in New York City, at the old Beacon Theater on Broadway. Pavarotti was sitting in the 10th row and the audience was way in the back. I sang Carmen and Dorabella. He came to me and whispered in my ear in English with a strong Italian accent: “Bavate, I like you very muche, now I want you to sing it again like a TIGRESS, I want you to give me EVERYTHING!” There was something in his intensity I will never forget…

Another competition, the American-Berlin Opera Foundation, changed the course of my career in the years that followed. That year, more than 4000 singers competed in the international competition out of which just one could win the challenge. I had a nasty cold on the morning of my audition, and called in to cancel. The secretary convinced me not to give up, and rescheduled me to the last place on the last day of the New York auditions. I sang, blowing my nose between the arias… and won the competition. Three months later I was singing leading roles at the Deutsche Opera Berlin.

As I came offstage from my first appearance I was greeted by Kammer-Sängerin Kaja Borris, a great singer who has performed all of the contralto and mezzo repertoire at the Deutsche Oper Berlin for more than 40 years. She offered to guide me, and asked for one thing only: my dedication. To this day I call her my angel. Her teaching and her guidance have been invaluable. She has become a close friend. In Berlin I sang, among other roles, Flosshilde and Rossweisse in Götz Friedrich’s famous staging of Wagner’s Ring, Hänsel, Sandman, Inez and more. After Berlin I sang Amneris in the immense open-air production of Theater Plauen-Zwickau and then toured Holland as the mother in Stravinsky’s Mavra with Opera Spanga.

It wasn’t long before my life would change again. During my debut at Carnegie Hall, where I was invited to perform a song-cycle by Astor Piazzolla, I met composer Ady Cohen, my future husband. He was responsible for the song arrangements for the cycle. The concert’s organizer had mistakenly given him the wrong musical keys and I had to call him to give him the correct ones. We spoke for hours on the phone. Then, after a blind date in Rome we decided to become husband and wife. We have two beautiful children: a son, Lyle – which means “night” in Hebrew and Arabic, and a daughter, Noot, who is named after the ancient Egyptian goddess of the upper sky, responsible for rebirth.

After giving birth, I returned to the stage. I created the leading role for The Rat Laughs, a modern opera in Hebrew, which has been performed over 100 times at Tel Aviv’s Cameri Theater, the New Israeli Opera, the Dramatyczny Theatre in Warsaw, the Sibiu International Theatre Festival and the Bucharest National Theatre. In addition to my great love for opera and contemporary music, it has been my great pleasure to perform classical song concerts such as Mahler’s Song Cycles, Beethoven’s 9th Symphony, Mozart’s Requiem, De Falla’s El Amor Brujo, Wagner’s Ring an einem Abend, Stravinsky’s Les Noces and other symphonic works with orchestras such as Nationaltheater Mannheim, The Deutsche Opera Berlin, Connecticut Grand Opera and Orchestra, Blutenburg Kammerphilharmonie München, The Kibbutz Orchestra, Haifa Orchestra, Israel Chamber Orchestra, The Jerusalem Baroque Orchestra, Israeli Sinfonietta Beer Sheva and The Israeli Symphony Orchestra Rishon-Lezion, and in festivals such as Valery Gervgiev’s Red Sea Festival, Schloss Elmau Festival, The Israel Festival, The International Biennial for contemporary Music, The Jewish Arts Festival in New York and Philadelphia, Ein Hod Festival, Keshet Eilon, Katzen Arts Center in Washington DC and Abu-Gosh Festival.

I have a special love for chamber music, and had the great honor to perform with many great musicians: Augustin Wiedemann my good friend from the “Mozarteum”, with whom I had the pleasure to tour Germany with our program “La maja dolorosa”, the cellist Emmanuelle Bertrand and her pianist husband Pascal Amoyel, with whom I had the best time performing together in Paris, my dear friend and sister in-law Chagit Glaser, Daniel Propper, Shiri Coneh, Shlomo Shem-Tov, Dan Deutsch, Gila Goldstein, Gil Shohat, Julia Rovinsky, Tali Glaser, Wolf Harden, Zvi Carmeli, Eyal Kless, Kobi Rubinstein, Eckhart Lorenzen & Batia Steinbock-Lorenzen, Michal Schmidt, Sandrine Erdely-Sayo, Danielle Orlando, Mikael Eliasen, Susan Nowicki, Donald St. Pierre, Humberto Ridolfi, Tali Roth, Susan Ashbaker, and Rudolf Meister.

Since I started my musical path as a composition student, singing contemporary music presented a special pleasure to me. Abel Ehrlich, Leroy Osmon, Ofer Ben-Amots, Udi Horev and Ady Cohen dedicated compositions to me. I also had the pleasure to premiere music by Reinhard Flender, Ella Milch-Sheriff, Ofer Ben Moshe, Yoav Gal, Gil Shohat, Sylvia Glickman, Boaz Tarsi, Ehud Pecker, and more.

In 2010, my manager John Miller introduced me to the distinguished master of the Old Swedish/Italian School of Music, David Jones. He trained me both as a singer and as a teacher, teaching me the technique practiced by the renowned singers Kirsten Flagstad and Jüssi Björling. Meeting him was a great personal experience and a tremendous technical revelation.

In addition to singing, I currently teach at the Israel Conservatory of Music in Tel Aviv and at the Tel Aviv branch of New York’s New School for Jazz and Contemporary Music.

I was once asked in a competition’s questionnaire: why do you sing? Without thinking very much I answered, “to pour love into this world.” And to this day, my highest goal is to be a channel of love with my singing and with everything I do.

“A first class singer with a warm timbre,
outstanding expression,
and an absolute artistry”
(Lindauer Zeitung)

Bavat Marom began her artistic journey as a painter, a dancer, and a composition student of Prof. Abel Ehrlich in her native Israel. She traveled to Austria to undertake vocal studies at the Mozarteum in Salzburg and then to the U.S.A. to the Curtis Institute of Music in Philadelphia, where she earned a Master’s Degree in Opera. While at Curtis, Ms. Marom performed numerous roles, including Orlofsky (Die Fledermaus), Pauline (Pique Dame), The Sorceress (Dido and Aeneas), Arnalta (L’incoronazione di Poppea), various roles with the Opera Company of Philadelphia as Dorabella (Così fan tutte), as Marcellina (Le nozze di Figaro) with Opera North, and Emilia (Otello) with Rockland Opera, while working as a fashion model in her spare time.

Following her graduation, Ms. Marom won the Opera Foundation Competition, and joined the ensemble of the Deutsche Oper Berlin, where she performed Hänsel (Hänsel und Gretel), Flosshilde and Rossweisse (Der Ring des Nibelungen). Elsewhere, she has performed Third Lady (Die Zauberflöte) with Connecticut Opera, Hänsel (Hänsel und Gretel) and Amneris (Aida) with Theater Plauen-Zwickau, The Mother (Mavra) with Opera Spanga, Schwertleite (Ring an einem Abend) with Nationaltheater Mannheim, The Rat Laughs, with the Cameri Theatre and the New Israeli Opera, The Dramatyczny Theatre in Warsaw, the Sibiu International Theatre Festival and at the Bucharest National Theatre.

Ms. Marom performs frequently in concerts, galas, and recitals at Carnegie Hall, Lincoln Center New York, Memphis Opera, the Deutsche Oper Berlin, the Israel Festival and at Valery Gergiev’s Red Sea Festival. Her symphonic concerts include: Kindertotenlieder with the Blutenburg Kammerphilharmonie München, the Haifa Symphony Orchestra, the Katzen Arts Center in Washington and at the Ein Hod Festival, at Keshet Eilon and with the Curtis Symphony Orchestra, Des Knaben Wunderhorn and the World Premiere of Gil Shohat’s Stabat Mater with The Israel Chamber Orchestra, Das Lied von der Erde with Orchestra Society, Beethoven 9th Sym. With Israel Symphony Orch. Rishol Lezion, The Israel Sinfonietta Beer Sheva and The Kibbutz Orchestra. El amor brujo with The Israel Sinfonietta Beer Sheva, Rossini’s Messe Solennelle with Tivon Chamber Choire, Stravinsky’s Les Noces with The Jerusalem Academyof Music Orchestra, Mozart Requiem with The Ra’anana Symphonette at the Abu-Gosh Festival, Bach with the Jerusalem Baroque Orchestra under the baton of Andrew Parrot, with the Curtis Symphony Orchestra and with Pennsylvania Pro Musica as well as Contemporary Chamber Music Concerts, as part of the Jewish Arts Festival in Philadelphia and in New York, the music Festival in Schloss Elmau, The International Biennial for Contemporary Music, and with the Connecticut Grand Opera and Orchestra.

Ms. Marom dedicates much of her time to chamber music. She performed with musicians such as: Augustin Wiedemann, Emmanuelle Bertrand, Pascal Amoyel, Chagit Glaser, Daniel Propper, Shiri Coneh, Shlomo Shem-Tov, Dan Deutsch, Gila Goldstein, Gil Shohat, Julia Rovinsky, Tali Glaser, Wolf Harden, Zvi Carmeli, Eyal Kless, Kobi Rubinstein, Eckhart Lorenzen, Batia Steinbock-Lorenzen, Michal Schmidt, Sandrine Erdely-Sayo, Danielle Orlando, Mikael Eliasen, Susan Nowicki, Donald St. Pierre, Humberto Ridolfi, Tali Roth, Susan Ashbaker, and Rudolf Meister.

She premiered new compositions by Reinhard Flender, Ella Milch-Sheriff, Ofer Ben Moshe, Gil Shohat, Sylvia Glickman, Boaz Tarsi, Ehud Pecker, and more. Composers such as Leroy Osmon, Abel Ehrlich, Ofer Ben-Amots, Udi Horev and Ady Cohen dedicated their compositions to her.

Ms. Marom won grants from The America-Israel Cultural Foundation, The Opera Foundation Competition, The Olga Forrai Foundation, The Arts Council of the Israeli National Lottery, The Joy In Singing Competition, The Margaret Rice Music Scholarship Fund, The Universität Mozarteum, The Curtis Institute of Music and more.

Solo Gesang (Diplom Programm) Universität Mozarteum, Salzburg, Austria
Bachelors of Music in Voice The Curtis Institute of Music, Philadelphia, PA, USA
Masters of Music in Opera The Curtis Institute of Music, Philadelphia, PA, USA

Voice Teacher: David Jones

Ks. Kaja Borris, Jeffrey Francis, Catherine Green, Julia Hamari, Trish McCaffrey, Joan Patenaude-Yarnell, Margaret Poiner, Marlena Malas, Prof. Rudolf Knoll.

Masterclasses: Luciano Pavarotti, Galina Vishnevskaya, Anna Moffo, Tom Krause, Betty Allen, Regina Resnick

Schwertleite / Die Walküre Nationaltheater Mannheim (Friedeman Layer)
Grandmother / The Rat Laughs Cameri Theatre of Tel Aviv / New Israeli Opera (O. Leshman; O. Kotler)
Sorceress / Dido and Aeneas Israeli Chamber Orchestra (Conductor: Naomi Faran)
Mother (premiere) / Mavra Opera Spanga (Conductor: David Levi; Director: Corina Van Eijk)
Amneris (premiere) / AidaTheater Plauen-Zwickau (Welisar Gentscheff, C. Weik; Rainer Wenke)
Hänsel / Hänsel und Gretel Theater Plauen-Zwickau (Christopher Weik; Rainer Wenke)
Genevieve / Pelléas et Mélisande International Vocal Arts Institute (Paul Nadler; Joshua Major)
3te Dame / Die Zauberflöte Connecticut Opera (Robert Ashens; John Norris)
3te Dame (cover) / Die Zauberflöte Deutsche Oper Berlin (Sebastian Lang-Lessing; Günter Krämer)
Emilia (premiere) / Otello Rockland Opera (Haim Elisha; Rina Elisha)
Carmen (scenes) / Carmen Memphis Opera (Michael Ching)
Dalila (scenes) / Samson et Dalila Memphis Opera (Mark Ensley)
Principessa (cover) / Adriana Lecouvreur International Vocal Arts Institute (Paul Nadler; Michael Scarola)
Flosshilde / Das Rheingold Deutsche Oper Berlin (Jiri Kout; Götz Friedrich)
Rosseweisse / Die Walküre Deutsche Oper Berlin (Jiri Kout; Götz Friedrich)
Flosshilde / Götterdammerung Deutsche Oper Berlin (Jiri Kout; Götz Friedrich)
Inez / Il Trovatore Deutsche Oper Berlin (Paolo Olmi; Hans Neuenfels)
Mrs. Ott / Susannah Deutsche Oper Berlin (Marie-Jeanne Dufour; John Dew)
Flosshilde (world premiere) / Klein Siegfried Deutsche Oper Berlin (Steffen Schubert; Saskia Kuhlmann)
Mercedes (cover) / Carmen Deutsche Oper Berlin (Rafael Frühbeck de Burgos; Peter Beauvais)
Madelon (cover) / André Chénier Deutsche Oper Berlin (Rafael Frühbeck de Burgos; John Dew)
Hänsel / Hänsel und Gretel Deutsche Oper Berlin (Sebastian Lang-Lessing; Filippo Sanjust)
Sandmann / Hänsel und Gretel Deutsche Oper Berlin (Sebastian Lang-Lessing; Filippo Sanjust)
Zia / Madama Butterfly Deutsche Oper Berlin (Johan M. Arnell; Pier Luigi Samaritani)
Dorabella / Così fan tutte (cover) Opera Company of Philadelphia (David Agler)
Marcellina (premiere) / Le nozze di Figaro Opera North, Philadelphia (Nathan Carter; David E. Lewis)
Prinz Orlofsky / Die Fledermaus Curtis Opera Theatre (David Agler; Chas Rader-Shieber)
Sorceress / Dido and Aeneas Curtis Opera Theatre (Donald St. Pierre; Chas Rader-Shieber)
Maddalena / Il viaggio a Reims Curtis Opera Theatre (David Hayes; Dorothy Danner)
Meg / Brigadoon Curtis Opera Theatre (Donald St. Pierre; Ken Cazan)
Rosina (cover), Berta / Il barbiere di Siviglia Curtis Opera Theatre
Arnalta / L’Incoronazione di Poppea Curtis Opera Theatre (Donald St. Pierre; Chas Rader-Shieber)
Pauline / Pique Dame Curtis Opera Theatre (Susan Nowicki)
Lavinia / Washington Square Curtis Opera Theatre (Danielle Orlando, Rhoda Levine)
Anita / West Side Story Curtis Opera Theatre (Louis Menendez; Dorothy Danner)
Page / The Inquisitive Prince Curtis Opera Theatre (Rodolfo Fischer; Marciem Bazell)
Jennie / Mahagonny SongspielCurtis Opera Theatre (David Hayes; Rhoda Levine)


Baroque Arias Pro-Musica, Philadelphia, Dr. Franklin B. Zimmerman
Beethoven / 9th Symphony Israel Symphony Orchestra Rishon Lezion, Dan Ettinger
Israel SInfonietta Beer Sheva, Doron Salomon
The Israel Kibbutz Orchestra, Yaron Gottfried
Falla / El amor brujo Israel SInfonietta Beer Sheva, Doron Salomon
Film Music Ramat-Gun Orchestra, Aviv Ron
Gil Shohat / Stabat Mater (World Premier) Israel Chamber Orchestra, Gabor Hollerung<
Israeli Art Songs with Orchestra Opera Memphis, Michael Ching, Mark Ensley
Mahler / Des Knaben Wunderhorn Israel Chamber Orchestra, Gabor Hollerung
Mahler / Kindertotenlieder Blutenburg Kammerphilharmonie München, Jörg Bierhance
Haifa Orchestra, Noam Sheriff
Valerie Gergiev’s Red Sea Festival, Gil Shohat
Curtis Symphony Orchestra, Philadelphia
Mahler / Das Lied von der Erde Orchestra Society, Philadelphia, Sindney Rothstein
Mozart Concert Arias Curtis Symphony Orchestra, Donald St. Pierre
Strawinsky / Les Noces The Chamber Choire of the Academy, Stanley Sperber
Wagner / Loriot/ Ring an einem Abend,
Rosseweisse & Flosshilde

Deutsche Oper Berlin, Jirí Kout
Nationaltheater Mannheim, Friedeman Layer


Bach The Jerusalem Baroque Orchestra, Andrew Parrott
Bach / Cantata #201 Curtis Symphony Orchestra, Philadelphia, Dr. Ford Lallerstedt
Haydn / Missa solemnis The Israel Kibbutz Orchestra, Yaron Gottfried
Mozart / Requiem Ra’anana Symphonette, Abu Gosh Vocal Music Festival, Michael Shani


A tribute to Astor Piazzolla Weill Hall, Carnegie Hall, New York
International Biennial for Contemporary Music Tel-Aviv & Jerusalem
Contemporary Chamber Music (world premiere) Jewish Arts Festival, Philadelphia & New York


  Deutsche Oper Berlin
  Schloss Elmau, Germany
  Connecticut Grand Opera and Orchestra
  Filene Hall, Saratoga, New York
La maja dolorosa German tour with guitarist Augustin Wiedemann
Mahler / Kindertotenlieder The Katzen Arts Center, Washington, DC
G. Shohat / Proverbs of the Fathers The Katzen Arts Center, Washington, DC
and Valerie Gergiev’s Red Sea Festival
Scubert Recital, with Gil Shohat Katedra
Schumann/Brahms/Mahler/Ben-Haim/Shohat/Bat Valery Gergiev’s Red Sea Festival


Amneris - Aida / Verdi
Anita - West Side Story / Bernstein
Azucena - Il Trovatore / Verdi
Brangäne - Tristan und Isolde / Wagner
Carmen - Carmen / Bizet
Dalila - Samson et Dalila / Saint Saens
3te Dame - Die Zauberflöte / Mozart
Eboli - Don Carlo / Verdi
Erda - Das Rheingold, Siegfried / Wagner
Fenenna - Nabucco / Verdi
Flosshilde - Rheingold & Götterdämmerung / Wagner
Genevieve - Pelléas et Mélisande / Debussy
Jeanne d’Arc - The Maiden of Orleans / Tchaikovsky
Jennie - Mahagonny Songspiel / Weill
Leonora - La Favorita / Donizetti
Lucretia - The Rape of Lucretia / Britten
Marguerite - La Damnation de Faust / Berlioz
Mezzo-soprano solo – Les Noces / Stravinsky
Mother – Mavra / Stravinsky
Olga - Eugene Onegin / Tchaikovsky
Prinz Orlofsky - Die Fledermaus / J.Strauss
Ortrud – Lohengrin/ Wagner
Pauline - Pique Dame / Tchaikovsky
La Principessa - Adriana Lecouvreur / Cilea
Rossweisse - Die Walküre / Wagner
Schwertleite - Die Walküre / Wagner
Sorceress - Dido and Aeneas / Purcell
Ulrica - Un Ballo in Maschera / Verdi
Venus - Tannhäuser / Wagner
Waltraute - Götterdämmerung / Wagner
Zia Principessa - Sour Angelica / Puccini



BeethovenSymphony #9
BernsteinSymphony #1 – “Jeremiah”
BrahmsAlto Raphsody, Op. 53
ChaussonPoème de l’Amour et de la Mer
FallaEl amor brujo, 7 canciones populares españolas
ElgarThe Dream of Gerontius, Sea Pictures
Cesar FranckNocturne (for Alt & orchestra) - 4 min.
Garcia LorcaCanciones españolas antiguas
MahlerKidertotenlieder, Das Lied von der Erde, Rückertlieder, Lieder eines fahrenden Gesellen,
Des Knaben Wunderhorn, Symphonies #2, #3, #8
RespighiIl Tramonto, La Sensitiva
Villa-LobosPema d’Ibertia
WagnerWesendonk Lieder


BachH-Moll Messe, Johannes Passion, Matthäus Passion, Weihnachtsoratorium, Magnificat
BeethovenMissa solemnis
DvorákRequiem, Stabat Mater
MozartRequiem, Missa Brevis KV140 (in G)
PergolesiStabat Mater
RossiniMesse Solennelle, Stabat Mater
VerdiRequiem, Quatro Pezzi Sacri
StravinskyOedipus Rex


BerliozLes nuits d’été (for mezzo-soprano & chamber orchestra)
Brahms2 songs op. 91 (for contralto, viola or cello & piano)
MahlerDas Lied von der Erde, Lieder eines fahrenden Gesellen (arranged by Boulez)
Ravel3 Chansons madécasses (for mezzo-soprano, flute, cello & piano)
PiazzollaTangos, Milongas (for mezzo-soprano & Guitar / for mezzo-soprano, Guitar, Violin & Cello)
Israeli and Jewish Art Songs

Mahler’s “kindertotenlieder” and Shohat’s “Proverbs of the Fathers” were sung by Bavat Marom’s heart-captivating contralto.
       (Recital at Keshet-Eilon, Hadaf-Hayarok, Orit Prague)

Among the singers, I was impressed especially by Bavat Marom, whose singing was on the highest professional level, possessing a most incredible musical presence.
       (Grandmother (The Rat Laughs) / Cameri Theatre of Tel Aviv, Israeli Radio, Yossi Schiffmann)

Bavat Marom brings forth impressive qualities of the horrifying experience (of the Holocaust).
       (Grandmother (The Rat Laughs) / Cameri Theatre of Tel Aviv, Ma’ariv, Ora Binur)

A most impressive performance… (Bavat Marom) created a character of a powerful stage presence.
       (Grandmother (The Rat Laughs) / Cameri Theatre of Tel Aviv, www.habama.co.il, Tzvi Goren)

Each word sung in Hebrew is clear… The role is shaped with emotional conviction.
       (Grandmother (The Rat Laughs) / Cameri Theatre of Tel Aviv, Ha’aretz, Michael Handelsalz)

Excellent performance left a deeply moved audience.
       (Grandmother (The Rat Laughs) / Cameri Theatre of Tel Aviv, Ha’aretz, Noam Ben Zeev)

A singer with a powerful stage presence.
       (International Biennial for Contemporary Music, Ha’aretz, Hagai Hitron)

…The outstanding vocal achievements of Aida were outshined by the mezzo-soprano Bavat Marom (Amneris)… Amneris achieves a mystical glow and dominates the action on stage… The inner conflict in which the princess is pending clearly becomes an emotionally experienced event for the audience… Amneris’ love and desperation clearly becomes the central, emotionally experienced event on stage.
       (Amneris / Theater Plauen-Zwickau, Wochen Spiegel)

Bavat Marom personified the difficult role of Amneris with an extremely powerful expression.
       (Amneris / Theater Plauen-Zwickau, Vogtland Anzeiger, Jürgen Preuss)

…Stunning interpretations of the works of Astor Piazzolla... The third arrangement… performed by Ms. Roth and Ms. Marom… had some wonderful moments, particularly during the nostalgically lovely Oblivion… Ms. Marom… received strong approval from the audience… The audience roared its approval…
       (A Tribute to Astor Piazzolla / Weill Recital Hall at Carnegie Hall, New York Concert Review, Daniel Thompson)

What an entrance! …A pleasure for the eye and for the ear! …A first-class singer… The Israeli-born singer Bavat Marom was the focal point of this evening… With her warm timbre, outstanding expression and absolute artistry she captivated the audience from her very first tone…
High art was created out of her strong stage presence, which presented each and every listener with the question - should they hold their breath, or break into applause.
       (Recital, Lindauer Zeitung, Winfried Hamann)

Sung passionThis Tuesday evening, it was a must to attend this concert, and the reason: the Israeli mezzo-soprano Bavat Marom!
Bavat Marom, whose thrilling beauty would have for sure inspired even Francisco Goya to create a new masterpiece, brought her entire personality into action in order to justly portray an extraordinarily subtle treasure of songs…
A passionate woman with a vocal register that expressed the hot-blooded depth of human emotions… The rich emotional interpretation was impressive!
The level of understanding between guitar and voice could not be any better!
       (Recital, Altöttinger Zeitung, Bernard Furtner)

Mezzo-soprano Bavat Marom and guitarist Augustin Wiedemann seduced the public with their music; the audience was abducted into magical worlds…
When the Israeli mezzo-soprano Bavat Marom cracks all the stone gates open in order to pour staccati, grace notes, trills, runs and rolling lines of music in a succession that leaves you breathless, one suddenly gets the feeling of being poured on with rain, made of the finest tones. Many other singers would have twisted their vocal cords if tried to do the same.
In Bavat Marom’s presentation, every steep and sudden interval was mastered in an effortless way. Her delivery and her personality melted into one unity.
She is a fortunate mixture of talent, intuition and hard work, and she verifies that more than anything else, singing should be fun.
The eloquence in which she treats the text and the playful free associations in which she handles the ornamentations are superb!
       (Recital, Passauer Neue Presse, Deggendorfer Zeitung, Helmut Gärtner)

An appearance that did not cease to excite…
The audience was spellbound…
…And then this singer! A tall, graceful beauty that immediately captured all!
The Siete canciones populares españolas by Manuel de Falla sounded as if they were written for her. With her wide spectrum of colors and shades and a shimmering passionate voice, Bavat Marom presented all that a painful love can cause. She gave the melodic lines a tender, dream-like quality, mourning and desperation; she was lost in thought, but then again – wild, brilliant, and furious. The tonadillas La maja dolorosa by Enrique Granados were filled with similar deep melancholic magic… Bavat Marom sang the five Israeli Art Songs in an incomparable way, undulating between unbelievable tenderness and passionate explosions.
       (Recital, Bayerwald-Bote, Thomas Richwien)

The Three Ladies who attend the Queen of the Night were supremely mellifluous in their blending.
       (3rd Lady / Connecticut Opera, The Hartford Courant, Tony Angarano)

The Rheinmaidens were beautiful to look at and sung in a gleaming, complimentary, charming way.
       (Flosshilde (Götterdämmerung) / Deutsche Oper Berlin, Berliner Morgenpost, Klaus Geitel)

The Rheinmaidens sang and acted with touching tenderness.
       (Flosshilde (Götterdämmerung) / Deutsche Oper Berlin, Die Welt, Klaus Geitel)