Rosa Feola


Italian soprano Rosa Feola came to international attention after winning multiple awards including Second Prize, The Audience Prize and the Zarzeula Prize at the Plácido Domingo World Opera Competition (2010). A pupil of Mara Naddei, she regularly attends master classes at the Accademia Nazionale di Santa Cecilia by Renata Scotto, Anna Vandi and Cesare Scarton.

Operatic roles include Corinna Il Viaggio a Reims, Serafind Il Campanello, Adina L’elsir d’amore, Gilda Rigoletto, Nannetta Falstaff, Susanna Le Nozze di Figaro, Zerlina Don Giovanni, Musetta La Bohème, Ines I due Figaro and Micaela Carmen, performing at houses including Teatro dell’Opera in Rome, Opernhaus Zurich, Ravenna Festival, Teatro Regio Torino, Teatro Real Madrid, Salzburg Festival and the Deutsche Oper Berlin.

Future engagements include Gilda Rigoletto at the Lyric Opera of Chicago, her debut at the Wiener Staatsoper in Le Nozze di Figaro (Japan tour), conducted by Muti, Lauretta Gianni Schicchi at the Bayerische Staatsoper and her debut at La Scala for La gazza ladra conducted by Riccardo Chailly.

She released her debut solo CD in 2015 titled ‘Musica e Poesia’, accompanied by Iain Burnside, featuring music by Respighi, Martucci, Ponchielli, Pinsuti and Liszt.

[This is not a biography and is for information only.  Please contact Sophie Robertson for an updated biography and performance schedule]

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News & Features



BELLINI I Capuleti e i Montecchi (Giulietta)
BELLINI I Puritani (Elvira)
BELLINI La Sonnambula (Amina)
BELLINI La Fille du Régiment
BIZET Les Pecheurs de Perles (Leila)
BIZET Carmen (Micaela)
DONIZETTI L'elisir d'amore (Adina)
DONIZETTI Don Pasquale (Norina)
DONIZETTI La campanello (Serafina)
GLUCK Orfeo et Euridice (Euridice)
GOUNOD Romeo et Juliette (Juliette)
HANDEL Giulio Cesare (Cleopatre)
MERCADANTE I due Figaro (Inès)
MOZART La Clemenza di Tito (Servilia)
MOZART Idomeneo (Ilia)
MOZART Die Zauberflöte (Pamina)
MOZART Le Nozze di Figaro (Susanna)
MOZART Don Giovanni (Donna Anna)
MOZART La Finta Giardiniera (Sandrina)
OFFENBACH Tales of Hoffman (Antonia)
PUCCINI Gianni Schicchi
PUCCINI La Bohème (Musetta)
ROSSINI La gazza ladra (Ninetta)
ROSSINI Il Viaggio a Reims (Corinna)
ROSSINI Il Turco in Italia (Fiorilla)
ROSSINI La Scala di Seta
STRAVINSKY Rake's Progress
VERDI Rigoletto (Gilda)
VERDI Falstaff (Nannetta)
VERDI La traviata

BACH B Minor Mass
BEETHOVEN Missa Solemnis
BRAHMS Requiem
FAURE Requiem
MAHLER Symphony No. 2 & 4
MONTEVERDI Il Vespro della Beata Vergine
MOZART C Minor Mass
MOZART Requiem
MOZART Exultate Jubilate
ORFF Carmina Burana
PERGOLESI Stabat Mater
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
SCHUBERT Mass in A flat

Please contact Sophie Robertson for a full repertoire list.

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    Vien diletto, e in ciel la luna



Kenmin Hall, YOKOHAMA

MOZART 'Le nozze di Figaro'

Conductor: Riccardo Muti

Conte d'Almaviva: Ildebrando D'Arcangelo
Contessa d'Almaviva: Eleonora Buratto
Figaro: Alessandreo Luongo
Cherubino: Margarita Gritskova

Kenmin Hall, YOKOHAMA

MOZART 'Le nozze di Figaro'

Conductor: Riccardo Muti

Conte d'Almaviva: Ildebrando D'Arcangelo
Contessa d'Almaviva: Eleonora Buratto
Figaro: Alessandreo Luongo
Cherubino: Margarita Gritskova

Kenmin Hall, YOKOHAMA

MOZART 'Le nozze di Figaro'

Conductor: Riccardo Muti

Conte d'Almaviva: Ildebrando D'Arcangelo
Contessa d'Almaviva: Eleonora Buratto
Figaro: Alessandreo Luongo
Cherubino: Margarita Gritskova

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Mozart and Mendelssohn arias

BBC Proms 2016

Royal Albert Hall; Jérémie Rhorer and Le Cercle de l’Harmonie

'In Mendelssohn’s Infelice her voice appeared small and delicate, but so perfectly controlled across the range that it took on a huge power, filling the hall, and our hearts, effortlessly. In Mozart’s Ah, lo previdi she surprised us with real fire and fury, and gave a touching purity to the final farewell to the beloved.' Ivan Hewett, The Telegraph, 31 July 2016
'Unmodified rapture came from Feola... the fully finished, stage-confident lyric soprano article. A surprising thrust in her armoury of colours suggested something beyond your usual sweet Mozart heroine...' David Nice, The Arts Desk, 23 July 2016
'In this perfectly balanced programmed of Mozart and Mendelssohn, she featured in two concert arias – long, quasi-operatic pieces written for star singers. Her gleaming, supple soprano shone in Mendelssohn’s Infelice, riding the choppy waves of the stormy orchestra in the closing section, and she soared in duet with the oboe in Mozart’s Ah, lo previdi.' Erica Jeal, The Guardian, 24 July 2016
'... Rosa Feola, who uncorked a secure, radiant and unforced timbre in Mendelssohn’s Infelice and made light of the coloratura challenges of Mozart’s Ah, lo previdi.' Richard Morrison, The Times, 25 July 2016


Le Nozze di Figaro

Glyndebourne Festival Opera

'Rosa Feola as Susanna was poised and elegant, again with an inner strength combined with suppleness of line. You felt that Feola could have easily taken on the role of the Countess, and her account of Deh vieni gave us some of the finest singing of the evening.' Robert Hugill, Planet Hugill, 4 July 2016
'But it’s the women who are exceptional. It’s hard to imagine finer soprano singing or more exuberant portrayals of Susanna and the Countess than those supplied by Rosa Feola and Golda Schultz respectively...' George Hall, The Guardian, 4 July 2016
'... a nicely balanced Act III duet with Susanna (impressively sung Rosa Feola, allying the role’s quick-wittedness to an ideal steely clarity in the voice).' Edward Bhesania, The Stage, 4 July 2016
'Most winning of all is young Italian soprano Rosa Feola as Figaro’s wife Susanna. She runs rings around the men, laying traps into which they obediently walk, all the while singing in a pert, crystal-clear soprano. She’s clearly a star in the making.' Ivan Hewett, The Telegraph, 5 July 2016
'Rosa Feola, a witty and spirited Susanna...' Stephen Pritchard, The Guardian, 10 July 2016
'Rosa Feola was a delicious Susanna...' William Hartston, The Telegraph, 5 July 2016
'Rosa Feola is excellent as Susanna...' Clare Colvin, The Express, 10 July 2016
'Rosa Feola is a lissom soprano who, in this interpretation, makes a hard-edged Susanna.' Hannah Nepil, Financial Times, 8 July 2016
'Best of all were Davide Luciano and Rosa Feola as Figaro and Susanna.... Feola acted and sang from start to finish with charm, wit and endless musical intelligence.' Roger Parker, Opera Magazine, August 2016


Symphony No. 4

Chicago Symphony Centre

"In addition, in the symphony’s brief but haunting fourth (and final) movement, the human voice comes into play as a soprano (in this case the altogether beguiling Rosa Feola) sings Mahler’s enchanting setting of a traditional German poem, “Das himmlische Leben” (“Heavenly Life”), with its naive and enthusiastic description of  that other world." Hedy Weiss, Chicago Sun Times, 15 April 2016
"The finale, a setting for solo soprano of a German folk poem about a child's vision of heaven, brought lovely singing from Rosa Feola, who's in town to sing Nannetta in the Muti "Falstaff" performances. The freshness and purity of her sound were an apt match for the naivete of stanzas in which angels bake bread and St. Peter goes fishing in God's lake." John von Rhein, Chicago Tribune, 15 April 2016
'Rosa Feola was a lovely Nanetta, captivating in her aria as Queen of the Fairies...' George Loomis, Financial Times, 28 April 2016

Musica e Poesia

Opus Arte

"Her singing is marked by poise and eloquence, and she spins out seamless phrases with unflagging care for the words, whether in Respighi’s Tuscan songs, Martucci’s more expansive Tre Pezzi, or parallel Dante settings by Ponchielli and Pinsuti." Erica Jeal, The Guardian, 7 January 2016
"... refreshing with a hint of sweetness, and a pleasant glow of Mediterranean sunshine. The soprano responsible is Rosa Feola, a rising star..."

"...the charm here is listening to Feola’s pure tone and immaculate diction..." Neil Fisher, The Times, 8 January 2016
"...a beautiful voice in its youthful prime, an artist on the threshold of an auspicious career."

"The two groups by Respighi are typical of the minor treasures to be found among this neglected song composer’s legacy. His Quattro Rispetti toscani, sophisticated settings of four folk‑like poems, show off the light, bel canto beauty of Feola’s soprano..."

"...her poise is impeccable. She takes some of the higher options for the voice, though not all. In one, at the close of ‘Pace non trovo’, she rises to an effortless D flat – a high point, in every sense, of singing that is graced everywhere with an elegant sweetness without ever feeling sentimental or saccharine." Richard Fairman, Gramophone, February 2016


Il Viaggio a Reims

Opernhaus Zurich

'There was some fine singing from the quartet of ladies, Rosa Feola, Anna Goryachova, Julie Fuchs and Serena Farnocchia.' John Rhodes, Seen and Heard, 20 December 2015


I Puritani

Welsh National Opera

"The Italian soprano Rosa Feola, a protégé of the great Renata Scotto, sings the dippy heroine Elvira with all her mentor’s questing intelligence. Warm and easy in her top register, she phrases sensitively, shaping the line into expressive meaning and colouring words with imagination. Her Mad Scene in Act 2 was exquisitely done, as was the miraculous...recovery of her senses that ensues...Feola can act too, radiating considerable personal charm throughout Elvira’s neurasthenic travails. There is blazing star potential here...". Rupert Christiansen, The Telegraph, 12 September 2015
"Musically this is most rewarding, with Feola’s coloratura gracefully poised". Rian Evans, The Guardian, 13 September 2015
..."the Elvira of Rosa Feola, a marvellous singing actress, in full command of the part’s range and coloratura, and with poise and a fine sense of nineteenth-century visual idiom... Her mad scene, especially, is a masterclass in refined excess...And, by the way, it’s exquisitely sung". Stephen Walsh,The Arts Desk, 12 September 2015
"Musically too, this is a magical evening. Rosa Feola...effaces all memories of Maria Callas and Joan Sutherland by singing a soaring, secure, beautiful and vulnerable Elvira". Mark Valencia, What's On Stage, 14 September 2015
"In this production Rosa Feola gives a genuinely affecting and moving performance...full of deep passion". Peter Collins, Wales Online, 12 September 2015
"..Elvira – wonderfully sung by Italian soprano Rosa Feola...Vocally, this is a rewarding evening...Feola’s exceptional Elvira...". George Hall, The Stage, 14 September 2015
"As Elvira, Rosa Feola is mesmerising...her obsessive-compulsive shredding of a bridal bouquet is the show’s most memorable image". Richard Morrison, The Times, 15 September 2015
"The evening would be a triumph whatever the setting thanks to the magnificent Rosa Feola, singing the part of Elvira for the last time on this tour. Feola was a pupil of Renata Scotto, and it shows both in her acting ability and in the expression and purity she brings to every acrobatic note in the fragile vocal line.

There’s no mistaking this heroine’s febrile mental state even as she light-heartedly cradles her wedding dress in Act 1. Then her exquisite... subtle control in Qui la voce, the most musical of all mad scenes, when she seems to hear Arturo’s voice, left me open-mouthed in admiration". Colin Davison, Gloucestershire Echo, 21 October 2015
"There is an Ophelia-like fragility about Rosa Feola’s unforgettable Elvira, possessed not only of delicate coloratura and a mixture of vocal purity and attack; she enhances those essential musical attributes by sustaining the made scenes across each of the three acts, rather than seeming arbitrarily to drift in and out of them. Feola’s silvery tone is ideal in the polacca, ‘Son vergin vezzosa’. No soprano ought to sing this part without studying Callas’s recordings, yet Feola seems to have taken these lessons and made something such as ‘Vien, diletto è in ciel la luna! entirely her own- necessarily, given her much lighter instrument, yet this cabaletta has a pliancy and musical intelligence that marks out the singer as a self-effacing star". John Allison, Opera Magazine, November 2015
'But the discovery of the night was soprano Rosa Feola, who spun Elvira’s long, winding melodies into gold. Her coloratura was gorgeous - and heartbreaking - with no histrionics but a myriad, delicate inflections. Quite simply, a star in the making.' Steph Power, The Independent, 14 September 2015


La finta giardiniera

Glyndebourne Touring Opera

'Rosa Feola has a voice you can't ignore: it is honey and cream with a kick of champagne, and she brings a magnum of star quality to the key role of Sandrina/Violante. We must hear more of this fabulous young Italian soprano.' Mark Valencia, Whats on Stage, 06 Oct 2014
Although no-one is weak, two principals stand out in particular. The first is Rosa Feola who as Sandrina has a voice of immense smoothness and beauty. There is an almost wispy, spiritual quality to her soprano and yet it is possessed of the utmost clarity. 
Woking Opera / 28th October Sam Smith, Music OMH, 31 Oct 2014
Fine young singers also grace Glyndebourne Touring Opera's revival of Frederic Wake-Walker's handsome but silly production of Mozart's silly youthful opera La finta giardiniera. The new fake gardener is surely a star in the making: Rosa Feola, apparently a future Glyndebourne Susanna in Figaro, for which I can't wait on the basis of her gorgeous singing here. Hugh Canning, The Sunday Times, Culture Magazine, 09 Nov 2014
Italian soprano Rosa Feola, sparkles as Sandrina/ Violante  Tim Frost, The Public Reviews, 5 Nov 2014


L'elisir d'amore

Opera di Roma

Adina è stata cantata da Rosa Feolacon impeccabile musicalità, precisione nelle agilità e gusto interpretativo curato, sorvegliato e mai manierato o artefatto, esprimendo l’evoluzione psicologica della parte attraverso un sapiente uso delle sonorità e del fraseggio ed una gestualità scenica sempre appropriata e spontanea anche quando costretta a cose forse discutibili e di certo inutilmente rumorose come le pagine strappate nell’aria di sortita.

Francesco Giudiceandrea, GB Opera Magazine, 11 May 2014



Chicago Symphony Center

Rosa Feola’s ethereal pure soprano brought just the right degree of expressive poise to her solos Lawrence A. Johnson, Chicago Classical Review, 7 Feb 2014
Of the solo singers, the pure, angelic soprano of Rosa Feola gave particular pleasure John von Rhein, Chicago tribune, 7 Feb 2014
Three young Italian soloists — soprano Rosa Feola, tenor Antonio Poli and bass Riccardo Zanellato — and Austrian mezzo Michaela Selinger were absolutely matched and in sync with an ability to capture lightness and even sweetness without the slightest touch of syrup.  Andrew Patner, Chicago Sun Times, 7 February 2014
They are chosen for varying textures as well as pitches, Rosa Feola in the soprano part sang with ethereal beauty, a pure tone piercing to the hall’s ceilings. Susan Hall, Berkshire Fine Arts, 7 Feb 2014
Muti, an opera maestro who knows something about singers and matching them up, put together an ideal blend of voices for the solo quartet: soprano Rosa Feola, mezzo-soprano Michaela Selinger, tenor Antonio Poli and bass Riccardo Zanellato. Lawrence B. Johnson, Chicago on the Aisle, 7 Feb 2014

Rosenblatt Recital 09 January 2014

Wigmore Hall

London likes to think it lies at the centre of the musical universe, but many great singers had relatively small careers here and most of today’s up-and-coming stars make their names elsewhere. No one fits that description better than the Italian lyric soprano Rosa Feola. Her recital in the Rosenblatt series, eloquently accompanied by Iain Burnside, was far from sold out but she is a classic Rosenblatt find – scarcely known on this side of the Channel but with a potential that impresarios elsewhere have been quick to spot.
There was nothing predictable about her programme of love songs, evenly divided between canzonettas and opera arias. It played to her strengths, which are many – one of them being a gift for making an audience want more. Before she even sings a note, Feola wins my vote: she has a pleasing presence, unfussy in a damsel-like way, with enough self-confidence to hold the stage on her own – without a score – while steering clear of prima donna mannerism. The timbre is natural – not obviously schooled or over-produced – and the technique flawless.

This was clear not only from an open-hearted “Caro nome” (Rigoletto), showcasing her stylish bel canto, but also from her clean, radiant upper register. Every top note rings out with lustre, giving “Je veux vivre” (Roméo et Juliette) and “E strano” (La traviata) the wherewithal to bring the house down. Her stage debut as Violetta surely can’t be far away, for Feola gives every impression of having a big-time temperament.
Her French diction let her down a bit in “Sombre forêt” (Guillaume Tell), but the aria, one of Rossini’s loveliest, proved that Feola could be equally persuasive in a gentler musical atmosphere. Her encore, Lauretta’s song from Gianni Schicchi, made a similar point: the emotion she expresses is touching, not overwrought.
As for her non-operatic choices, Tosti’s “Sogno” and “Non t’amo più” demonstrated her ability to respect the simplicity of the song, while Villa-Lobos’s “Tarde uma nuvem rósea” showcased her seductive vocalise. But the key to Feola’s artistic personality is not just her vocal prowess: what counts is that she never gives less than a performance.

5 Stars
Andrew Clark, Financial Times, 12 January 2014



Ravenna Festival, Italy

'Particolarmente luminosa la Gilda di Rosa Feola, capace sia di brucianti accensioni drammatiche che di estatici abbandoni lirici' Guido Barbieri, La Repubblica, 11 November


Carmina Burana

Chicago Symphony Orchestra

'Feola had an attractive sound from her first entrance, but as the evening went on she became increasingly seductive and even delicate.' 

Andrew Partner, Chicago Sun Times, 22 September 2012



Musica e Poesia

Soprano: Rosa Feola
Piano: Iain Burnside

Respighi: Quattro rispetti toscai, Deità silvane
Martucci: Tre pezzi Op.84
Ponchielli: Sonetto di Dante: 'Tante gentile e tanto onesta pare'
Pinsuti: Sonetto di Dante: 'Tanto gentile e tanto onesta pare'
Liszt: Tre sonetti di Petrarca
Opus Arte