Rosa Feola

Introduction

Italian soprano, Rosa Feola came to international attention when she won Second Prize, The Audience Prize and the Zarzuela Prize at the 2010 Plácido Domingo World Opera Competition. After graduating from the Conservatory in Rome (2008), where she studied with M° Mara Naddei, she attended masterclasses at the Accademia Nazionale di Santa Cecilia, under the direction of Renata Scotto, Anna Vandi and Cesare Scarton.

Known for her sparkling soprano and gifts as an actress on both the concert platform and opera stage, she regularly collaborates with conductors including Riccardo Muti and gives recitals internationally. She made her professional debut in the role of Corinna (Il Viaggio a Reims) under the direction of the highly-regarded Kent Nagano, before performing her next engagement as Serafind (Il Campanello) in 2010 at Reate Festival. She went on to perform Adina (L’elsir d’amore), a role which is now unique to her, at the Teatro dell’Opera in Rome under Bruno Campanella.

Career highlights so far include Rigoletto in Zurich and Torino; Falstaff in Bari; L'elisir d'amore and La bohème in Rome; Carmen in China; Sandrina (La finta giardiniera); Ilia (Idomeneo); Die Zauberflote; Susanna (Le nozze di Figaro); Corinna (Il Viaggio a Reims); Gilda (Rigoletto) and Nanetta (Falstaff).

Described as a ‘mesmerising’ performer (The Times 2015), Rosa recently had great success singing Elvira in I Puritani with the Welsh National Opera. Other recent engagements include Corinna (Il viaggio a Reims) and Leila (Les pêcheurs de perles) with the Opernahus Zurich. She begins 2016 returning to Zurich for Gilda (Rigoletto).

Future engagements include Falstaff and Mahler Symphony No. 8 with the Chicago Symphony Orchestra, conducted by Muti, her debut solo recital in the US and a return to Glyndebourne for Susanna in their revival of Michael Grandage’s production of Le nozze di Figaro.

In December 2015 she released her debut solo disc 'Musica e Poesia' on Opus Arte, accompanied by Iain Burnside.


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

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Repertoire

OPERA:

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 (Michaela)
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 Alcina (Morgana)
HANDEL Giulio Cesare (Cleopatre)
HANDEL Ariodante (Ginevra)
MERCADANTE I due Figaro (Inès)
MOZART La Clemenza di Tito (Servilia)
MOZART Idomeneo (Ilia)
MOZATCosi' fan tutte (Despina)
MOZART Die Zauberflöte (Pamina) 
MOZART Lucio Silla (Giunia)
MOZART Le Nozze di Figaro (Susanna)
MOZART Don Giovanni (Donna Anna)
MOZART La Finta Giardiniera (Sandrina)
OFFENBACH Tales of Hoffman (Antonia)
PUCCINI Schicchi
PUCCINI La Bohème (Musetta)
ROSSINI Il Viaggio a Reims (Corinna)
ROSSINI Il Turco in Italia (Fiorilla)
ROSSINILa Scala di Seta
STRAVINSKY Rake's Progress
VERDI (Gilda)
VERDI Falstaff (Nannetta)
VERDI Traviata

CONCERT:
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
POULENC GloriA
ROSSINI Petite Messe Solenelle
ROSSINI Stabat Mater
SCHUBERT Mass in A flat

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MOZART

OPERA ARIAS

Il Re Pastore (Aminta) - L'amero’

Mitridate (Ismene) - Tu sai per chi m'accese
Mitridate (Sifare) -  Parto: nel gran cimento

CONCERT ARIAS

Ah se in ciel, benigne stelle K538
Bella mia fiamma K 528
Chi sa, chi sa, qual sia K582
Vado, ma dove K 583

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  • BELLINI
    Vien diletto, e in ciel la luna

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Schedule

Opernhaus Zurich, ZURICH

VERDI 'Rigoletto'

Conductor: Antonello Allemandi
Director: Tatjana Gürbaca

Il Duca di Mantova: Michael Fabiano
Rigoletto: Quinn Kelsey
GILDA: ROSA FEOLA
Sparafucile: Pavel Daniluk
Maddalena: Jufith Schmid
Giovanna: Julia Riley
Il Conte de Ceprano: Yuriy Tsiple

Opernhaus Zurich, ZURICH

VERDI 'Rigoletto'

Conductor: Antonello Allemandi
Director: Tatjana Gürbaca

Il Duca di Mantova: Michael Fabiano
Rigoletto: Quinn Kelsey
GILDA: ROSA FEOLA
Sparafucile: Pavel Daniluk
Maddalena: Jufith Schmid
Giovanna: Julia Riley
Il Conte de Ceprano: Yuriy Tsiple

Opernhaus Zurich, ZURICH

VERDI 'Rigoletto'

Conductor: Antonello Allemandi
Director: Tatjana Gürbaca

Il Duca di Mantova: Michael Fabiano
Rigoletto: Quinn Kelsey
GILDA: ROSA FEOLA
Sparafucile: Pavel Daniluk
Maddalena: Jufith Schmid
Giovanna: Julia Riley
Il Conte de Ceprano: Yuriy Tsiple

Opernhaus Zurich, ZURICH

VERDI 'Rigoletto'

Conductor: Antonello Allemandi
Director: Tatjana Gürbaca

Il Duca di Mantova: Michael Fabiano
Rigoletto: Quinn Kelsey
GILDA: ROSA FEOLA
Sparafucile: Pavel Daniluk
Maddalena: Jufith Schmid
Giovanna: Julia Riley
Il Conte de Ceprano: Yuriy Tsiple

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Roberto de Candia
Ford: Vladimir Stoyanov
Fenton: Antonio Poli
Dott. Cajus: Cristiano Olivieri           
Mrs Alice Ford: Ainhoa Arteta
NANNETTA: ROSA FEOLA
Mrs Quickly: Enkelejda Shkoza
Mrs Meg Page: Marina Comparato
Bardolfo: Bruno Lazzaretti
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Roberto de Candia
Ford: Vladimir Stoyanov
Fenton: Antonio Poli
Dott. Cajus: Cristiano Olivieri           
Mrs Alice Ford: Ainhoa Arteta
NANNETTA: ROSA FEOLA
Mrs Quickly: Enkelejda Shkoza
Mrs Meg Page: Marina Comparato
Bardolfo: Bruno Lazzaretti
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Elia Fabbian
Ford: Vladimir Stoyanov
Fenton: Leonardo Cortellazzi
Dott. Cajus: Cristiano Olivieri            
Mrs Alice Ford: Eva Mei
NANNETTA: ROSA FEOLA
Mrs Quickly: Barbara Di Castri
Mrs Meg Page: Annunziata Vestri
Bardolfo:Gianluca Sorrentino
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Roberto de Candia
Ford: Vladimir Stoyanov
Fenton: Antonio Poli
Dott. Cajus: Cristiano Olivieri            
Mrs Alice Ford: Ainhoa Arteta
NANNETTA: ROSA FEOLA
Mrs Quickly: Enkelejda Shkoza
Mrs Meg Page: Marina Comparato
Bardolfo: Bruno Lazzaretti
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Elia Fabbian
Ford: Vladimir Stoyanov
Fenton: Leonardo Cortellazzi
Dott. Cajus: Cristiano Olivieri            
Mrs Alice Ford: Eva Mei
NANNETTA: ROSA FEOLA
Mrs Quickly: Barbara Di Castri
Mrs Meg Page: Annunziata Vestri
Bardolfo:Gianluca Sorrentino
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Elia Fabbian
Ford: Vladimir Stoyanov
Fenton: Leonardo Cortellazzi
Dott. Cajus: Cristiano Olivieri            
Mrs Alice Ford: Eva Mei
NANNETTA: ROSA FEOLA
Mrs Quickly: Barbara Di Castri
Mrs Meg Page: Annunziata Vestri
Bardolfo:Gianluca Sorrentino
Pistola: Gabriele Sagona

Teatro di San Carlo, Naples

VERDI Falstaff

Director: Pinchas Steinberg/Luca Ronconi

Sir John Falstaff: Roberto de Candia
Ford: Vladimir Stoyanov
Fenton: Antonio Poli
Dott. Cajus: Cristiano Olivieri            
Mrs Alice Ford: Ainhoa Arteta
NANNETTA: ROSA FEOLA
Mrs Quickly: Enkelejda Shkoza
Mrs Meg Page: Marina Comparato
Bardolfo: Bruno Lazzaretti
Pistola: Gabriele Sagona

Chicago Symphony Orchestra, CHICAGO

VERDI 'Falstaff'

Conductor: Riccardo Muti
Chorus Director: Duain Wolfe

Sir John Falstaff: Ambrogio Maestri
Alice Ford: Eleonora Buratto
Ford: Luca Salsi
NANNETTA: ROSA FEOLA
Fenton: Saimir Pirgu
Mistress Quickly: Daniela Barcellona
Meg Page: Laura Polverelli
Bardolfo: Anicio Zorzi Giustiniani
Pistola: Luca Dall'Amico
Dr Caius:Saverio Fiore

Chicago Symphony Orchestra
Chicago Symphony Chorus

Chicago Symphony Orchestra, CHICAGO

VERDI 'Falstaff'

Conductor: Riccardo Muti
Chorus Director: Duain Wolfe

Sir John Falstaff: Ambrogio Maestri
Alice Ford: Eleonora Buratto
Ford: Luca Salsi
NANNETTA: ROSA FEOLA
Fenton: Saimir Pirgu
Mistress Quickly: Daniela Barcellona
Meg Page: Laura Polverelli
Bardolfo: Anicio Zorzi Giustiniani
Pistola: Luca Dall'Amico
Dr Caius:Saverio Fiore

Chicago Symphony Orchestra
Chicago Symphony Chorus

Chicago Symphony Center, CHICAGO

VERDI 'Falstaff'

Conductor: Riccardo Muti
Chorus Director: Duain Wolfe

Sir John Falstaff: Ambrogio Maestri
Alice Ford: Eleonora Buratto
Ford: Luca Salsi
NANNETTA: ROSA FEOLA
Fenton: Saimir Pirgu
Mistress Quickly: Daniela Barcellona
Meg Page: Laura Polverelli
Bardolfo: Anicio Zorzi Giustiniani
Pistola: Luca Dall'Amico
Dr Caius:Saverio Fiore

Chicago Symphony Orchestra
Chicago Symphony Chorus

Herbst Theatre, SAN FRANCISCO

MARTUCCI Ciclo op 84 Tre pezzi (Carducci) (10’00)
1. Maggiolata
2. Pianto antico
3. Nevicata


LIST 3 Sonetti del Petrarca
I. Pace non trovo
II. Benedetto sia ‘l giorno
I vidi in terra angelici

TOSTI
Sogno,
non t’amo piu’
a vucchella

----------------

VERDI
Ad una stella
Stornello
Deh pietoso Oh addolorata
lLa zingara

DONIZETTI
A Mezzanotte
Eterno amore e fe
Ne ornera' la bruna chioma

ROSSINI
L'invito.Bolero
La promessa
La fioraia fiorentina

SOPRANO: ROSA FEOLA
Piano: Fabio Centanni

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Press

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

Rossini

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

Bellini

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

Mozart

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

Donizetti

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

Schubert

Mass

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

Verdi

Rigoletto

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

Orff

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

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Recordings

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