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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,, 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)

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)

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)

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)