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. (concertclassic.com)
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 Vendittelli made her debut at the Innsbrucker Festwochen der Alten Musik in the world premiere of Cesti’s Nozze in sogno, conducted by Enrico Onofri and directed by Alessio Pizzech.
Particularly fond of Mozart, she appeared as Donna Elvira in Don Giovanni at the Teatro Olimpico in Vicenza, Beaune Festival, Musikfest Bremen; Countess Almaviva in Le Nozze di Figaro at the Auditorio de Tenerife and the Teatro Comunale in Bologna; Aminta in Il Re Pastore at the Teatro Verdi in Trieste. In Così fan tutte she sang Fiordiligi in Vicenza, Novara, Ravenna, Piacenza, and Despina at the Teatro Regio in Turin under 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.
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 has won acclaim for her interpretations of Rossini singing Amaltea in Mosè in Egitto at the Teatro di San Carlo in Naples, conducted by Stefano Montanari and directed by David Pountney, and Matilde in Elisabetta Regina d’Inghilterra with the Ensemble Matheus and 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; Amanzio in Vivaldi’s Giustino conducted by Ottavio Dantone at the Bucharest George Enescu Festival and Lausanne Opera; the Ange in Pergolesi’s Conversione di San Guglielmo duca d’Aquitania with Les Talens Lyriques and Christophe Rousset at the Festival Pergolesi Spontini; Pergolesi’s Stabat Mater with Les Musiciens du Louvre and Francesco Corti at the Chaise-Dieu Festival. She sang the title roles in Serse in several Italian theatres and at the Beaune Festival under Ottavio Dantone, and in Dafne in lauro by Johann Joseph Fux at the Graz Styarte Festival.
Furthermore, she has distinguished herself in Romantic and post-Romantic repertoire interpreting Micaëla in Bizet’s Carmen in Cagliari, 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 at La Fenice. In February 2019, Arianna appeared in the world premiere of 7 Minuti by Giorgio Battistelli at the Opéra National de Lorraine in Nancy.
Among her most important past engagements are the title role in Hans Werner Henze’s Gisela! at the Teatro Massimo, conducted by Constantin Trinks and directed by Emma Dante; Zerlina in Don Giovanni at the Spoleto Festival under the baton of James Conlon; the world premiere of Fadwa by Dimitri Scarlato at the Accademia Filarmonica Romana in Rome. She performed Handel’s Rodrigo at the Beaune Festival with Thibault Noally and was Fiordiligi in Così fan tutte conducted by Matteo Beltrami and staged by Pier Luigi Pizzi in several Italian theatres.
Recent and future engagements include the title roles in Rossini’s Ermione at the Teatro San Carlo under Alessandro De Marchi, in Hasse’s Semele at the Theater an der Wien and Verona, and in the world premiere of Leonora by Ferdinando Paër in Schwetzingen, Innsbruck and Bonn. Again with Maestro De Marchi, she appears as Eurydice in Gluck’s Orphée ed Eurydice at the Autumn Festival of Festspielhaus Baden-Baden and can be seen as Salome in Stradella’s San Giovanni Battista with Vacláv Luks and its Collegium 1704 in Prague, Dresden, Amsterdam among other cities. Following the success of the first modern representation of the opera Merope by Riccardo Broschi, Farinelli’s brother, conducted by Maestro De Marchi at the Innsbruck Festival earlier this year, Arianna reprises the role of Argia at the Theater an der Wien.
Live at Teatro Municipale Valli di Reggio Emilia - Handel: Serse, “Ombra mai fu” (title role) · Ottavio Dantone, Accademia Bizantina
Live at Cesti Competition Innsbruck - Handel: Orlando, “Non potrà dirmi ingrata” (Angelica)
Vivaldi: Il Giustino, “Or che cinto ho il crin d’alloro” (Amanzio) · Ottavio Dantone, Accademia Bizantina
Live at Prinzregententheater München - Mozart: Così fan tutte, “Temerari... Come scoglio” (Fiordiligi) · Alessandro De Marchi, Münchner Rundfunkorchester
Live in London - Handel: Messiah, “Rejoice greatly, O daughter of Zion”