Rosa Feola


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 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 such as Riccardo Muti and gives recitals internationally. Rosa's recent engagements include: Rigoletto in Zurich and Torino; Falstaff in Bari; L'elisir d'amore and La bohème in Rome; and Carmen in China. Roles this season and beyond include Sandrina (La finta giardiniera); Ilia (Idomeneo); Pamina (Die Zauberflote); Susanna (Le nozze di Figaro); Corinna (Il Viaggio a Reims); Gilda (Rigoletto) and Nanetta (Falstaff).

In the forthcoming seasons highlights are to include; Idomeneo, L'elisir d'amore, Mozart Requiem, Carmina Burana, Le nozze di Figaro and Il viaggio a Reims. 

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News & Features


I Capuleti e i Montecchi (Giulietta)
I Puritani (Elvira)
La Sonnambula (Amina)
La Fille du Régiment

Les Pecheurs de Perles (Leila)
Carmen (Michaela)

L'elisir d'amore (Adina)
Don Pasquale (Norina)
La campanello (Serafina)

Orfeo et Euridice (Euridice)

Les Pêcheurs de Perles (Leila)

Romeo et Juliette (Juliette)

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

I due Figaro (Inès)

La Clemenza di Tito (Servilia)
Idomeneo (Ilia)
Cosi' fan tutte (Despina)
Die Zauberflöte (Pamina) 
Lucio Silla (Giunia)
Le Nozze di Figaro (Susanna)
Don Giovanni (Donna Anna)
La Finta Giardiniera (Sandrina)

Tales of Hoffman (Antonia)

Gianni Schicchi
 La Bohème (Musetta)

Il Viaggio a Reims (Corinna)
Il Turco in Italia (Fiorilla)
La Scala di Seta

Rake's Progress

Rigoletto (Gilda)
Falstaff (Nannetta)


B Minor Mass

Missa Solemnis



Symphony No. 2 & 4

Il Vespro della Beata Vergine

C Minor Mass
Exultate Jubilate

Carmina Burana

Stabat Mater


Petite Messe Solenelle
Stabat Mater 

Mass in A flat




Il Re Pastore (Aminta) - L'amero’

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


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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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