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, perfecting her singing with Mariella Devia.
Arianna made her debut at the Salzburg and Ravenna Festivals as Carmi in Mozart’s Betulia liberata under Riccardo Muti with whom she also sang Paisiello’s Missa Defunctorum in Salzburg and Vivaldi’s Magnificat in Lourdes and Loreto.
She has recently headlined I Grotteschi, a new twofold performance distilled from the Monteverdi trilogy conducted by Leonardo García Alarcón and directed by Rafael R. Villalobos at La Monnaie.
Since her debut at the Innsbrucker Festwochen der Alten Musik in the world premiere of Cesti’s Nozze in sogno led by Enrico Onofri, Arianna has appeared regularly with the festival and was heard, under Alessandro De Marchi, in the title role of Bernardo Pasquini’s Idalma, as Argia in the first modern representation of the opera Merope by Riccardo Broschi, as Vagaus in Vivaldi’s Juditha triumphans and, more recently, under Ottavio Dantone in the title role in Geminiano Giacomelli’s Cesare in Egitto in a new Leo Muscato staging.
Arianna starred as Susanna (Le Nozze di Figaro) and Donna Elvira (Don Giovanni) in the Da Ponte Trilogy Marc Minkovsky and Ivan Alexandre presented in the 2022/2023 season at the Liceu Barcelona, Opéra national de Bordeaux and Opéra Royal de Versailles. She appeared as Fiordiligi in Pier Luigi Pizzi’s staging of Così fan tutte in several Italian theatres as well as for the Opéra de Lausanne under Diego Fasolis.
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 Jean-Christophe Spinosi. Arianna was Giovanna in Donizetti’s Anna Bolena in a new Diego Fasolis/Carmelo Rifici production in Lugano, Reggio Emilia, Modena and Piacenza.
Recognized for her work in the Baroque repertoire, Arianna Vendittelli performed the title role in Hasse’s Semele at both the Theater an der Wien and Wigmore Hall, Alessandro in Handel’s Berenice with Francesco Corti and Il Pomo d’Oro at the Théâtre des Champs-Elyseés in Paris, Armida in Handel’s Rinaldo led by Andrea Marcon at the Opéra de Lausanne, and the Angel in Pergolesi’s Conversione di San Guglielmo d’Aquitania with Christophe Rousset for the Festival Pergolesi Spontini.
Under the conduction of Ottavio Dantone, Arianna mastered the title role in Handel’s Serse on tour in Italy and Idaspe in Vivaldi’s Tamerlano, issued on Naïve’s Vivaldi Edition, at the Theater an der Wien. Still under Dantone’s baton, she performed as Minerva in Il Ritorno di Ulisse in patria in a Robert Carsen production for the Maggio Musicale Fiorentino and, in a Pier Luigi Pizzi staging, for the Teatro Alighieri Ravenna, where she also appeared as Dido in Purcell’s Dido and Aeneas.
Other past highlights include a new production of Luigi Cherubini’s Sposo di tre e marito di nessuna paced by Diego Fasolis in Florence and the title role in Sartorio’s Orfeo under Philippe Jaroussky in Montpellier.
Arianna’s solo album dedicated to Vivaldi’s cantatas for soprano and released in the Naïve Vivaldi Edition was designated “5 Classical Music Albums to hear right now” by The New York Times.
In the 2025/2026 season, Arianna Vendittelli will bring to life the title role in Agrippina alongside Stéphane Fuget at the Beaune Festival, Laodice in A. Scarlatti’s Mitridate Eupatore under Giulio Prandi for the Teatro Massimo di Palermo and Sesto in Giulio Cesare in a Marc Minkowski/Vincent Boussard production for the Palau de les Arts in Valencia.
Arianna returns to the role of Donna Elvira under Francesco Corti for both the Opera Ballet Vlaanderen and the Palau de la Música in Valencia.
