Arianna VendittelliSoprano

Photo Gallery


  • Rossini: Ermione (title role) – Teatro San Carlo Naples
  • Hasse: La Semele (title role) – Theater an der Wien
  • Mozart: Don Giovanni (Donna Elvira) – Barcelona, Bordeaux, Versailles
  • Mozart: Les Nozze di Figaro (Susanna) – Lausanne Opera, Versailles Royal Opera
  • Wolf-Ferrari: Il Segreto di Susanna (title role) – Teatro La Fenice
  • Handel: Serse (title role) – Piacenza, Modena, Reggio Emilia, Beaune
  • Mozart: Così fan tutte (Fiordiligi) – Italy tour
  • Rossini: Elisabetta Regina d’Inghilterra (Matilde) – Le Quartz Brest
  • Rossini: Mosè in Egitto (Amaltea) – Teatro San Carlo Naples
  • Gluck: Orphée et Eurydice (title role) – Baden-Baden Festival
  • Bizet: Carmen (Micaëla) – Teatro Lirico Cagliari

Her high-calibre musical performance and the theatricality of her technique bespeak a musician whose stylistic command is achieved with unerring intensity. We would be delighted to see more of her on stage in a production worthy of her talent. (


Born in Rome, Arianna Vendittelli showed a great interest in music from a very young age. She first studied violin before focusing exclusively on singing. She graduated with highest honours from the Conservatorio Antonio Buzzolla in Adria and she is currently perfecting her singing with Mariella Devia.

Her unique timbre and her wide vocal range enabled her at an early age to approach the great roles of the operatic repertoire.

She was a prize winner at the following International Singing Competitions: Sacred Music in Rome, Marcello Giordani Competition in Catania, Handel Competition in London. She also received the Audience Award in the Cesti Competition at the Innsbruck Festival of Early Music.

Arianna made her debut at the Salzburg and Ravenna Festivals as Carmi in Mozart’s Betulia liberata under the baton of Riccardo Muti. With the latter she also sang Paisiello’s Missa Defunctorum in Salzburg, Ravenna, Vicenza and Udine. She debuted at the Innsbrucker Festwochen der Alten Musik with the world premiere of Cesti’s Nozze in sogno, conducted by Enrico Onofri and directed by Alessio Pizzech.

Particularly fond of Mozart, she was Zerlina (Don Giovanni) at the Spoleto Festival under the baton of James Conlon and appeared as Donna Elvira for the Beaune and Bremen Festivals under Jérémie Rhorer; Countess Almaviva (Le Nozze di Figaro) at the Auditorio de Tenerife and Teatro Comunale in Bologna; Aminta (Il Re Pastore) at the Teatro Verdi in Trieste. In Così fan tutte she sang Fiordiligi in a production staged by Pier Luigi Pizzi in several Italian theatres, and Despina for the Teatro Regio Torino in a production conducted by Christopher Franklin and directed by Ettore Scola. She gave a Mozart recital with Alessandro De Marchi and the Münchner Rundfunkorchester at the Prinzregententheater in Munich. Still under the baton of Maestro De Marchi she performed the Vesperae solennes de Confessore and the Krönungsmesse, and embodied the role of Eurydice in Gluck’s Orphée ed Eurydice for the Autumn Festival of Festspielhaus Baden-Baden.

She has won acclaim for her interpretations of Rossini singing the title role in Ermione (Alessandro De Marchi/ Jacopo Spirei) and Amaltea in Mosè in Egitto (Stefano Montanari/David Pountne) both for the Naples Teatro di San Carlo, and Matilde in Elisabetta Regina d’Inghilterra with the Ensemble Matheus under Jean-Christophe Spinosi.

Recognized for her work in the Baroque repertoire, Arianna Vendittelli was seen on stage as Salome in Stradella’s San Giovanni Battista at the Innsbruck Festival with Alessandro De Marchi and in Prague under Vacláv Luks; Amanzio in Vivaldi’s Giustino conducted by Ottavio Dantone at the Bucharest George Enescu Festival and Lausanne Opera; the title role in Hasse’s Semele at Theater an der Wien, the title role in Dafne in lauro by Johann Joseph Fux for the Graz Styarte Festival, the Ange in Pergolesi’s Conversione di San Guglielmo duca d’Aquitania with Les Talens Lyriques and Christophe Rousset for the Festival Pergolesi Spontini. She sang Pergolesi’s Stabat Mater with Les Musiciens du Louvre and Francesco Corti for the Chaise-Dieu Festival.
She mastered the title role in Handel’s Serse in several Italian theatres and in Beaune under Ottavio Dantone and performed Florinda in Rodrigo with Thibault Noally, also at the Beaune Festival.

Furthermore, she has distinguished herself in Romantic and post-Romantic repertoire interpreting Micaëla in Bizet’s Carmen in Cagliari, the title role in Hans Werner Henze’s Gisela! conducted by Constantin Trinks and directed by Emma Dante for the Teatro Massimo di Palermo; the title role in Il Segreto di Susanna by Ermanno Wolf-Ferrari at La Fenice, as well as some more hybrid roles like the title role in Cilea’s Gina, also for La Fenice.

Arianna appeared in several world premieres including 7 Minuti by Giorgio Battistelli at the Opéra National de Lorraine in Nancy and Fadwa by Dimitri Scarlato at the Accademia Filarmonica Romana in Rome. She stared as Argia in the first modern representation of the opera Merope by Riccardo Broschi, Farinelli’s brother, under Maestro De Marchi both at the Innsbruck Festival and Theater an der Wien.

Recent and future engagements include Angelica in Il Palazzo incantato by Luigi Rossi under Leonardo García Alarcón at Opéra de Dijon, Mozart’s Trilogy under Marc Minkowski at Opéra Royale in Versailles, Susanna in Le Nozze di Figaro by Mozart at Genova Teatro Carlo Felice, Armida in Handel’s Rinaldo in a Andrea Marcon/Roberta Carsen production at Opéra de Lausanne, Minerva in Monteverdi’s Ritorno d’Ulisse in patria in a Ottavio Dantone/Robert Carsen production at Florence Opera and the title role in Pasquini’s Idalma under Alessandro De Marchi at Innsbruck Festival.


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Arianna Vendittelli