Rosa Feola


[This is for information only and should not be reproduced. Please contact Camilla Walt for an updated biography and performance details.] 

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, studying with M° Mara Naddei, in 2008 she attended masterclasses at the Opera Studio at the Accademia Nazionale di Santa Cecilia, under the direction of Renata Scotto, Anna Vandi and Cesare Scarton. 

Not only known for her sparkling soprano but a truly gifted actress on both the concert platform and opera stage. Rosa has made appearances in roles such as Corinna, Il Viaggio a Reims under Kent Nagano at the Accademia Nazionale di Santa Cecilia. She then sang Serafina, Donizetti’s Il campanello at the 2010 Reate Festival, Adina, L’elisir d’amore at the Teatro dell’Opera in Rome under Bruno Campanella and as Inès in Mercadante’s I due Figaro under Riccardo Muti at the Salzburg Festival. 

Rosa's engagements in the 2013/2014 season include: Rigoletto in Zurich and Torino, Falstaff in Bari,  L'elisir d'amore in Rome, Carmen in China, La finta giardiniera in Glyndebourne and Idomeneo in Lille. Other roles that Rosa will present in future seasons are to include: Pamina/ Die Zauberflote, Susanna/Le nozze di Figaro, Corinna/ Il Viaggio a Reims, Gilda/Rigoletto and Nanetta/ Falstaff

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News & Features



BELLINI I Capuleti e i Montecchi (Giulietta)
BELLINI I Puritani (Elvira)
BELLINI La Sonnambula (Amina)

BIZET Les Pecheurs de Perles (Leila)
BIZET Carmen (Michaela)

DONIZETTI Elisir d'amore (Adina)
DONIZETTI Don Pasquale (Norina)
DONIZETTI La campanello (Serafina)

GLUCK Orfeo et Euridice (Euridice)

GOUNDOD Romeo et Juliette

HANDEL Alcina (Morgana)
HANDEL Giulio Cesare (Cleopatre)
HANDEL Ariodante (Ginevra)

MERCADANTE I due Figaro (Inès)

MOZART Clemenza di tito (Servilia)
MOZART Idomeneo (Ilia)
MOZART Cosi' fan tutte (Despina)
MOZART Die Zauberflöte (Pamina)
MOZART Lucio Silla (Giunia)
MOZART Le Nozze di Figaro (Susanna)

PUCCINI Gianni Schicchi
PUCCINI La Bohème (Musetta)

ROSSINI Il Viaggio a Reims (Corinna)

VERDI Rigoletto (Gilda)
VERDI Falstaff (Nannetta)


BRAHMS Requiem
MAHLER Symphony No. 4
MOZART C Minor Mass
ORFF Carmina Burana
PERGOLESI Stabat Mater
ROSSINI Petite messe solenelle 

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Media Player


    Non t'amo più



Suntory Hall, Tokyo

Junichi Hirokami, Conductor
Rosa Feola, Soprano

Schubert: Symphony No.5 in B-flat major, D485
Mahler Symphony No.4 in G major

Suntory Hall, Tokyo

Junichi Hirokami, Conductor
Rosa Feola, Soprano

Schubert: Symphony No.5 in B-flat major, D485
Mahler Symphony No.4 in G major

Musashino Civic Cultural Hall, Musashino

Verdi - 
Ad una stella 
lo spazzacamino 

a Mezzanotte 
amore e morte 
la zingara 
-ne ornera' la bruna chioma
eterno amore fe 
voga, voga il vento tace 

Non t'amo piu')...
a vucchella
Gerónimo Giménez Nieto Ma llaman la primorosa 
Bizet Je dis que rien ne m'épouvante
Verdi Caro nome 
Gounod Je veux vivre
Gastaldon Musica proibita
Verdi E' strano... è strano -

Guangzhou Opera House, Guangzhou


Géraldine Chauvet, Mezzo-Soprano (6/28)

Don José
Gustavo Porta, Tenor (6/28)

Rosa Feola, Soprano (6/28)

Claudio Sgura, Baritone

Francesca Franci, Mezzo-Soprano

Stefanna Kybalova, Soprano

Francesco Pittari, Baritone

Fabio Previati, Tenor

Marco Camastra, Bass

Carlo Striuli, Bass

Conductor: Daniel Oren
Director: Francesca Zambello

The Opera Chorus of Verdi Theatre in Salerno, Italy
The Chorus of Guangzhou Opera House

Macao Orchestra

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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