Stage L’elisir d’amore and La traviata – October
Masterclass L’elisir d’amore and La traviata – November
Stage L’elisir d’amore and La traviata – December
Stage L’elisir d’amore and La traviata – February
Stage L’elisir d’amore and La traviata – March
Stage L’elisir d’amore and La traviata – April
Stage La traviata – May
Graduated from the Conservatory of Music in Piano and Opera Singing, graduated in Disciplines of The Art of Music and Entertainment, Television and New Media she is also Master’s Doctor in Cinema and Media with specialization in Entertainment Sciences and Multimedia Production, degree obtained with the highest marks and honors at the University of Turin.
Since 2010 he has been collaborating with the teatro alla Scala in Milan as Maestro del coro delle voci bianche directed by Maestro Bruno Casoni.
With the Accademia del Teatro alla Scala in Milan he is part of the project La Scala fa Scuola – Un Coro in Città with the position of teacher for the modules of Vocal Technique, Elements of History of Musical Theater and Elements of History of Vocal Music related to the course for Directors of Choir of White Voices.
Artist for years present in the Italian and European music scene he began his activity as Choir Master in 2000 collaborating immediately as well as with Italy also with Spain and France alongside great artists such as Leo Nucci, Tatiana Serjan, Alessandro Corbelli and many others. In the 2006/2007 opera season of the As.Them.Co was the ChoirMaster in Gounod’s Production of Faust replicated thirteen times in theaters in northern Italy. In October 2017 he received the prestigious Special Golden Ark award for Choral Direction.
In 2002 he founded his own choir that he conducted permanently and with which he took part in numerous opera performances in the Season of the Musical Soirées of the New Ark and of the Accademia della Voce del Piemonte itself.
She has over 500 concerts in which she has been director of both the choir and orchestral ensembles such as in La Serva padrona by Pergolesi performed at the Alfieri theatre in Asti starring the great bass Alessandro Corbelli; he has directed Rossini’s Petite messe solennelle several times, including one in the Palazzo Madama in Turin, Dido e Aeneas in Purcell, La traviata in a special set-up in the National Cinema Museum in Turin, La matassa e la rosa by Luciano Vavolo with Pamela Villoresi as the voice; he has conducted on several occasions the Solo d’Archi Ensemble recalling the concert in the prestigious Society of the Garden of Milan, the Requiem of Mozart and the Mass in D major by Dvorak in the Cathedral of Turin, the Cantata David and Bathsheba by the Norwegian composer Gisle Krogseth for soloists, choir and trio of guitars. As M° del coro he accompanied the international tenor Vittorio Grigolo on the tour “Italia un sogno” directed by John Pascoe, a show that stopped in thirteen theaters of Italian cities such as Verona, Livorno, Brescia, Bologna, Bari, Cosenza.
From 2008 to 2013 he was the ChoirMaster of the Italy&Usa Alba Music Festival season in collaboration with The Saint Mary’s College of Maryland in productions such as Carmina Burana by Orff, Eine Deutsches Requiem by Brahms, Requiem by Verdi, Dona Nobis pacem by Vaughan William.
On September 7, 2010 he conducted the Coro Accademia della Voce di Torino in Mass da Requiem by Mozart performed at Castel Gandolfo for the Fifth Year of Pontificate by Benedict XVI with the Orchestra of Padua and Veneto conducted by Claudio Desderi.
From 2010 to 2016 he was the Artistic Director of the Association La Nuova Arca in Turin and since 2010 of the Accademia della Voce del Piemonte – Alto Perfezionamento Lirico e Strumentale, whose Masterclasses have been entrusted to Mariella Devia, Luciana D’Intino, Daniela Dessì, Fabio Armiliato, Alessandro Corbelli, Claudio Desderi and Sherman Lowe, Massimiliano Damerini, and many other great artists of the international music scene. With soprano Barbara Frittoli, tenor Francisco Araiza, soprano Sung Hee Park held several high-fine stages in Turin.
He made his debut as Azucena (Il Trovatore) after winning the Adriano Belli international competition in Spoleto. From this moment on, it comes to the attention of the international opera scene, confirming itself as one of the best and most appreciated mezzo-soprano voices of our time.
After her memorable success in Aida at Covent Garden, she was described by the Sunday Times as “a glorious mezzo-soprano […] the most exciting singer in her role that has emerged from Italy in recent years”.
Particularly appreciated in the Italian repertoire and French, Luciana D’Intino is a regular guest of some of the most prestigious theaters in the world such as: Teatro alla Scala, Metropolitan of New York, Covent Garden, Wiener Staatsoper, Staatsoper unter den Linden in Berlin, Bayerische Staatsoper in Munich, Opernhaus zurich, Teatro Municipal de Santiago del Chile, Maggio Musicale Fiorentino, La Fenice di Venezia, Teatro Comunale di Bologna , Opera di Roma, San Carlo di Napoli, Regio di Parma and Rossini Opera Festival, collaborating with conductors such as Salvatore Accardo, Daniel Baremboim, Semyon Bychkov, Myung-Whun Chung, Colin Davis, Daniele Gatti, James Levine, Lorin Maazel, Zubin Mehta, Riccardo Muti and George Prêtre.
His later successes include performances by Don Carlo at the Zurich Opernhaus, the Wiener Staatsoper and the Opéra National de Paris; Requiem by Verdi at the Regio of Parma, Comunale of Bologna, at the Chorégies d’Orange, at the Musikverein in Vienna with Riccardo Muti and at the Philarmonie in Berlin with Daniel Barenboim; Aida at the Metropolitan in New York, at La Scala and at the Wiener Staatsoper; Boris Godunov and Il trovatore at the Zurich Opernhaus; Il trovatore at the Liceu in Barcelona; Aida at the Bayerische Staatsoper in Munich and at the Teatro del Maggio Musicale Fiorentino; Cavalleria rusticana at the Teatro alla Scala and the Liceu in Barcelona.
An artist of great temperament and musicality, possessing a very refined technique, she has been the protagonist of a long career in all the major theaters in the world. He has been collaborating for years with the Accademia della Voce del Piemonte in which he holds very popular masterclasses. In January 2021 she will be awarded the International Golden Ark Award Sapere Aude, 2020, which could not be awarded to her in the designated year due to ministerial health provisions.
Soprano di coloratura
He began his 16-year-old study of singing at the Milan Conservatory and in Rome continued with his teacher Jolanda Magnoni. He graduated from the Santa Cecilia Conservatory. In 1973 he made his debut at the Comunale di Treviso in Lucia di Lammermoor, as winner of the Toti Dal Monte International Competition.
After her debut, Devia’s career extended to various Italian stages, starting with the Teatro Regio in Turin, where she was Gilda’s second interpreter Rigoletto by Verdi on December 29, 1973. She sang at La Scala many years later and debuted in 1987 as Juliet in I Capuleti e i Montecchi by Bellini.
Internationally, she made her debut in December 1979 at the Metropolitan Opera House as a Guild, thus remaining active for a fifteen-year-old, with great success, on the New York scenes, both in the main opera house, and at Carnegie Hall, where she first appeared in 1981 as the protagonist of Lakmé. His Viennese debut at the Staatsoper dates back to 1984, again with Rigoletto, while the one at the Salle Favart, inside the Opéra billboard, took place in 1987, with Elvira de I puritani. The following year it was the turn of the Royal Opera House in London, where she was Constance in Rat from the Menagerie by Mozart.
After almost thirty years of success on stage all over the world with a repertoire essentially lyrical-light and coloratura soprano, Devia’s career continued for a long time in the third millennium, so much so that the role of Lucia di Lammermoor faced him at least 350 times. Equipped with a refined technique that has allowed her to face numerous heroines, she is considered a tangible example for entire generations of singers, and is admired by many of her colleagues, for her professional seriousness and for the perfect use of voice. His other characters are Lucrezia Borgia, Maria Stuarda at the Teatro dell’Opera in Rome, Anna Bolena Elisabetta in Roberto Devereux.
Since then these roles have practically monopolized her performances in the great theaters of southern Europe (mainly Italy and Spain), together with the last, and perhaps most sensational, acquisition of her new repertoire: on April 13, 2013, the day after the completion of her sixty-fifth birthday, Devia in fact debuted in the fearsome part of Norma, at the Teatro Comunale di Bologna, later doing this role the one she even performed most , although as part of a total number of theatrical appearances limited to no more than three or four titles per year.
After an absence that lasted many years, on June 5, 2014, Devia also made a triumphant rentrée in front of the New York audience, at Carnegie Hall, with a concert performance by Roberto Devereux. A successful life in theatre, for which Mariella Devia is considered among the greatest soprani of the last fifty years. She has always dedicated herself to the teaching of Belcanto, feared and loved at the same time for the rigor with which she transmitted to young people the ability to hear the most popular characters of Italian and European composers. Two years later, it was repeated with the same opera in concert form, in a different part of the world, in Moscow, in front of the audience of the Tchaikovsky Concert Hall.
In the second destination of 2017 Devia wanted to bring Norma to several cities in Japan (to the Nissay Theater in Tokyo in July, and then to Kawasaki and Ōtsu in October), in what appeared almost as a form of compensation for a project that had gone up to date about fifteen years earlier, namely to make its long-awaited debut in the role on Japanese soil.
In 2016 she was awarded the International Opera Awards; in 2018 she was awarded the Award A Life for Music; in 2019 the International Golden Ark Award, Sapere Aude.
Turin, after studying with Valdengo, “toscanini’s baritone” and with Claude Thiolas in Treviso, he embarked on a brilliant international career qualifying himself among the most authoritative Baritones of Rossini, Donizettiani and Mozartians.
Intelligence, culture, modesty and absolutely brilliant interpretative skills, it is active in major American theaters: New York, Los Angeles, Philadelphia, Chicago. His main characters: Figaro in Wedding by Mozart and in Barbiere di Siviglia, Don Pasquale, L’elisir d’amore, Gianni Schicchi, Don Giovanni, Così fan tutte, Cenerentola,Italiana in Algeri, Bohéme and a vast repertoire.
He dedicated himself to teaching, he debuted with the Accademia della Voce del Piemonte, out of pure friendship, in La serva padrona by Pergolesi and, after seventeen years of absence, he returned to the Teatro Regio in Turin for a memorable performance of Gianni Schicchi by Puccini.
He has been holding master classes in the Academy for years. He is considered the true heir of Sesto Bruscantin.
The tenor Salvatore Ragonese obtained the singing diploma at the V. Bellini Conservatory in Palermo with the highest marks and honors. He perfected vocal technique and interpretation with prestigious masters such as Ettore Campogalliani, Arrigo Pola and Antonio Tonini.
He began his career in 1987 in Germany and France, debuting as Cavaradossi in Tosca by Puccini and in the Duca di Mantova in Rigoletto by Verdi. He participated in several singing competitions, winning the Mattia Battistini di Rieti, in 1986, for the role of Alfredo in La traviata by Verdi; the Beniamino Gigli competition of Sirmione and the Puccini of Milan, also winning the Anna Angelini award. With Rodolfo’s debut in Bohème, at the Teatro del Giglio in Lucca in 1988, a rich season of commitments opens for the artist that sees him protagonist of the national opera scene.
His debut in “Loris” in Fedora by Giordano in Monte Carlo alongside the famous soprano Renata Scotto and the direction of Pinchas Steinberg, definitively launched him into the international opera scene, singing in the most prestigious theaters in the world. In these theaters he was the protagonist in Fedora by Giordano; Bohème by Puccini directed by Gotz Friedrich; Nabucco by Verdi with Matteo Manuguerra; La traviata with Denia Mazzola. At the Sydney Opera House, he was cast by maestro Felice Cillario for the role of Alfredo in a production of La Traviata directed by John Copley.
Between the late 1990s and early 2000s, Ragonese perfected his technique under the guidance of maestro Paride Venturi, thus debuting new roles of greater dramatic depth.
In 2010 he returned to sing at the Teatro Massimo in Palermo in a new production of Don Quichotte by Massenet with Ferruccio Furlanetto and the direction of Alain Guingal.
She is uniquely recognized from a young age as a talent for opera. She has performed in opera, operetta, oratory in South Korea and Europe.
After studying at home, she graduated from the Conservatories of Milan and Adria, becoming the first Asian to complete a two-year period in Italy; she then perfected with Mirella Freni and Mariella Devia.
She has participated in important events, including Mozart’s 250th Birth Anniversary Memorial Gala Concert, the Czech Charity Concert in Prague. In Seoul she returned in 2011 with a recital entitled Rookie Vocalist Soprano.
With the support of Arts Council Korea, she has performed with Die Zauberflöte, Les Contes d’Hoffmann, Le nozze di Figaro, Rigoletto, Lucia di Lammermoor, Bohéme, Il segreto di Susanna, L’elisir d’amore, Così fan tutte and Hänsel und Gretel.
She teaches at EHWA Womans University and Seoul University, and is Ambassador of Culture and Arts for her country’s Ministry of Health and Welfare.
He holds Masterclasses for the Accademia della Voce del Piemonte.
She was the daughter of the Norwegian architectural historian and theorist Christian Norberg-Schulz (1926–2000), and the Italian translator and writer Anna Maria de Dominicis. Growing up in Ris (Oslo), she took singing lessons with Anne Brown as a young man, as well as piano, ballet and theatre classes.
He began his studies at the Conservatory of Santa Cecilia in Rome in 1974, the first piano and since 1974 in singing with Rosina Vedrani Laporta, with whom he studied for ten years. She graduated in piano in 1978 and singing in 1982.
He also studied with John Shirley-Quirk, Peter Pears and for several years with Elisabeth Schwarzkopf. She has performed in many of the most important theaters and companies in the world, including La Scala, Teatro dell’Opera di Roma, Teatro Comunale di Bologna, Teatro Massimo di Palermo, Teatro Regio di Torino, Teatro San Carlo in Naples, Teatro Carlo Felice in Genoa, La Fenice in Venice, New York Metropolitan Opera, Lyric Opera of Chicago, Royal Opera, Covent Garden, Opéra Bastille , La Monnaiea Bruxelles, Teatro Real in Madrid, Opéra de Genève, Bavarian State Opera in Munich, Vienna State Opera and Norwegian National Opera.
Since 2006 she has been professor of singing and interpretation at the University of Stavanger in Norway
Italian violinist, soloist and sidekick of the orchestra of the Teatro alla Scala and the Filarmonica della Scala. He began studying violin at the age of six with Giovanni Leone. He participated very young in the Review of young violinists Città di Vittorio Veneto, winning the first prize three times in the years 1982, 1984 and 1985.
At the suggestion of the soloist Jean-Jacques Kantorow he entered the Académie de Musique Tibor Varga in Zion (Switzerland), where he began his specialization followed by Master Tibor Varga. At the age of nineteen he won the concert place in the orchestra of the Teatro alla Scala. In 1993 he won the 1st prize, unanimously awarded, at the 21st National Violin Competition, Città di Vittorio Veneto. In 1995 he won the audition as first violin of the Orchestra del Teatro La Fenice in Venice. In 1998, at the international competition for shoulder violin of the Teatro alla Scala, he was chosen by Riccardo Muti to play the role of sidekick both in the orchestra of the Teatro alla Scala and in the Orchestra Filarmonica della Scala.
In his career he collaborates with the greatest international conductors. As a soloist he has played in some of the most prestigious concert halls in the world, including Gasteig of Munich, Bachzaal of Amsterdam, Paris Conservatory, Rockfeller Center and Guggenheim Museum in New York, Reiss-Engelhorn Museum of Mannheim. He also carries out activities in the field of chamber music with prestigious soloists.
He teaches at the Conservatoire Supérieur et Académie de Musique Tibor Varga in Zion (Switzerland) and holds masterclasses in France, Japan, Italy and Switzerland.
Francesco De Angelis plays the violin Giovanni Battista Guadagnini Torino 1783 “Ex Kleynenberg”, granted by the Pro Canale Foundation of Milan.