Arianna VendittelliSoprano

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Highlights

  • Rossini: Ermione (title role), Mosè in Egitto (Amaltea) – Teatro San Carlo Naples
  • Hasse: La Semele (title role) – Theater an der Wien
  • Mozart: Don Giovanni (Donna Elvira) – Barcelona, Bordeaux, Versailles
  • Mozart: Le 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
  • Monteverdi: Il Ritorno d’Ulisse in patria (Minerva) – Florence Opera
  • Pasquini: Idalma (title role) – Innsbruck Festival
  • 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. (concertclassic.com)

Biography

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.

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 in Beaune and Bremen under Jérémie Rhorer. 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. With Alessandro De Marchi she gave a Mozart recital at the Prinzregententheater in Munich and embodied the role of Eurydice in Gluck’s Orphée et Eurydice for the Baden-Baden Autumn Festival.

She has been highly acclaimed 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 led by 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 in Prague with Vacláv Luks, and in Innsbruck with Alessandro De Marchi where she also sang the title role in Bernardo Pasquini’s Idalma. She brought to life Amanzio in Vivaldi’s Giustino conducted by Ottavio Dantone at both the Bucharest George Enescu Festival and Lausanne Opera; the title role in Hasse’s Semele at Theater an der Wien; Minerva in Monteverdi’s Ritorno d’Ulisse in patria in an Ottavio Dantone/Robert Carsen production in Florence; the Ange in Pergolesi’s Conversione di San Guglielmo d’Aquitania with Les Talens Lyriques and Christophe Rousset for the Festival Pergolesi Spontini. She starred as Angelica in Il Palazzo incantato by Luigi Rossi under Leonardo García Alarcón at Opéra de Dijon.

Arianna mastered the title role in Handel’s Serse in several Italian theatres and in Beaune under Ottavio Dantone and performed Armida in Rinaldo alongside Andrea Marcon at Opéra de Lausanne.

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! in 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.

For the Naïve Vivaldi Edition, she has recorded Il Tamerlano with Ottavio Dantone and his Accademia Bizantina.

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

Recent and future engagements include a revival of Rossi’s Palazzo incantato (Angelica) under Leonardo García Alarcón/Cappella Mediterranea in Nancy and Versailles, Mozart’s Nozze di Figaro (Susanna) in a Frank Beermann/James Gray production at Opéra de Lausanne, Luigi Cherubini’s Sposo di tre, e il marito di nessuna (Donna Rosa) in a Diego Fasolis/Cesare Lievi production at Opera di Firenze, and Mozart’s Trilogy under Marc Minkowski at both Liceu Barcelona and Opéra de Bordeaux.

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Arianna Vendittelli