Internship L’elisir d’amore and La traviata – October
Masterclass L’elisir d’amore and La traviata – November
Internship L’elisir d’amore and La traviata – December
Internship L’elisir d’amore and La traviata – February
Internship L’elisir d’amore and La traviata – March
Internship L’elisir d’amore and La traviata – April
Internship La traviata – May
Graduated from the Conservatory of Music in Piano and Opera Singing, graduated in Drama, Art and Music Studies, Television and New Media she has an MA in Cinema and Media with specialization in Drama Studies and Multimedia Production, a degree gained with the highest marks and honors at the University of Turin.
Since 2010 she has been collaborating with the Teatro alla Scala of Milan as Choirmaster of the Children’s Chorus directed by Maestro Bruno Casoni.
With the Accademia del Teatro alla Scala in Milan she 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 for the course for Choirmasters of Children’s Choirs.
An artist present for years on the Italian and European music scene she began her activity as Choirmaster in 2000 collaborating immediately 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.Li.Co circuit, she was the Choirmaster in Gounod’s Production of Faust repeated thirteen times in theaters in Northern Italy. In October 2017 she received the prestigious Speciale Arca d’Oro award for Choir Direction.
In 2002 she founded her own choir, which she permanently conduct and with which she took part in numerous opera performances in the Season of the Musical Soirées of Nuova Arca and the Accademia della Voce del Piemonte itself.
She has taken part in over 500 concerts in which she has been director of both the choir and orchestral ensembles as in La Serva padrona by Pergolesi performed at the Teatro Alfieri of Asti starring the great bass Alessandro Corbelli; she has directed Rossini’s Petite messe solennelle several times, including one of which in the Palazzo Madama of Turin, Purcell’s Dido e Aeneas, La traviata in a special set-up in the National Cinema Museum in Turin, La matassa e la rosa by Luciano Vavolo starring Pamela Villoresi as the narrating voice; she has conducted on several occasions the Solo d’Archi Ensemble on several occasions, among which the concert in the prestigious Società del Giardino of Milan, the Mozart’s Requiem and the Mass in D major by Dvorak in in Turin’s Cathedral, the Cantata David and Bathsheba by the Norwegian composer Gisle Krogseth for soloists, choir and trio of guitars. As a Choirmaster she accompanied the international tenor Vittorio Grigolo on the tour “Italia un sogno” tour directed by John Pascoe, whose performance took place in thirteen theaters of Italian cities such as Verona, Livorno, Brescia, Bologna, Bari, Cosenza.
From 2008 to 2013 she 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 she conducted the Coro Accademia della Voce di Torino in Mozart’s Requiem Mass executed at Castel Gandolfo for the Fifth Year of Pontificate of Benedict XVI with the Orchestra di Padova e del Veneto conducted by Claudio Desderi.
From 2010 to 2016 she 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. Together with soprano Barbara Frittoli, tenor Francisco Araiza, soprano Sung Hee Park she has held several high operatic perfection internships in Turin.
she made her debut as Azucena (Il Trovatore) after winning the Adriano Belli international competition in Spoleto. From that moment on, she comes to the attention of the international opera scene, confirming herself 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 and French repertoire, 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 Zürich, Teatro Municipal de Santiago del Chile, Maggio Musicale Fiorentino, La Fenice in Venezia, Teatro Comunale in Bologna , Opera di Roma, San Carlo in Napoli, Regio in 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.
Her latest successes include performances in Don Carlo at the Zürich Opernhaus, Wiener Staatsoper and Opéra National de Paris; Requiem by Verdi at the Regio of Parma, Comunale of Bologna, Chorégies d’Orange, Musikverein in Vienna with Riccardo Muti and at the Philarmonie in Berlin with Daniel Barenboim; Aida at the Metropolitan in New York, La Scala and Wiener Staatsoper; Boris Godunov and Il trovatore at the Zürich Opernhaus; Il trovatore at the Liceu in Barcelona; Aida at the Bayerische Staatsoper in Munich and Teatro del Maggio Musicale Fiorentino; Cavalleria rusticana at the Teatro alla Scala and Liceu in Barcelona.
An artist of great temperament and musicality, she possesses a very refined technique, she has been the protagonist of a long career in all the major theaters in the world. She has been collaborating for years with the Accademia della Voce del Piemonte in which she holds very popular masterclasses. In January 2021 she will be awarded the Premio Internazionale Arca d’oro Sapere Aude, 2020, which could not be awarded in the designated year due to the ministerial health provisions.
She began the study of singing at 16 at Milan Conservatory and and continued in Rome with her teacher Jolanda Magnoni. She graduated from the Santa Cecilia Conservatory. In 1973 she made her debut at the Comunale of Treviso in Lucia di Lammermoor, as the winner of the Concorso Internazionale Toti Dal Monte.
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 in Verdi’s Rigoletto on December 29, 1973. She sang at La Scala many years later and debuted as Juliet in I Capuleti e i Montecchi by Bellini in 1987.
Internationally, she made her debut in December 1979 at the Metropolitan Opera House as Gilda, thus remaining active for about fifteen years, with great success, on the New York scene, both in the main opera house, and at Carnegie Hall, where she first appeared in 1981 as the protagonist of Lakmé. Her Viennese debut at the Staatsoper dates back to 1984, again with Rigoletto, while the one at the Salle Favart, in the Opéra, took place in 1987, with Elvira of I puritani. The following year it was the turn of the Royal Opera House in London, where she was Constance in Die Entführung aus dem Serail by Mozart.
After almost thirty years of success on stages all over the world with a light and coloratura soprano repertoire, Devia’s career continued for a long time in the third millennium, so much so that she portrayed Lucia di Lammermoor at least 350 times. Equipped with a refined technique that has allowed her to portray 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. Her 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 almost monopolized her performances in the great theaters of Southern Europe (mainly Italy and Spain), together with the latest, and perhaps most sensational, acquisition of her new repertoire: on April 13, 2013, the day after her sixty-fifth birthday, Devia debuted in the fearsome part of Norma, at the Teatro Comunale of Bologna, later making of this role the one she has performed the most, although as part of a number of theatrical appearances limited to no more than three or four titles per year.
After an absence of 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 of Roberto Devereux. A life of successes in theatre, for which Mariella Devia is considered among the greatest sopranos of the last fifty years. She has always dedicated herself to the teaching of Belcanto, feared and loved at the same time for the strictness with which she has transmitted to young artists the ability to feel the most popular characters by Italian and European composers. Two years later, success came again with the same opera in a concert form, in a different part of the world, in Moscow, in front of the audience of the Tchaikovsky Concert Hall.
For 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 failed project dating back to fifteen years earlier, that of making her long-awaited debut in the role on Japanese soil.
In 2016 she was awarded the International Opera Awards; in 2018 she was awarded the Una vita per la musica prize; in 2019 the Premio Internazionale Arca d’Oro, Sapere Aude.
Turinese, 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, Donizetti and Mozart’s repertoires.
An artist of absolutely brilliant intelligence, culture, modesty and performing skills, he is active in the major American theaters: New York, Los Angeles, Philadelphia, Chicago. His main characters are: Figaro in Mozart’s Marriage and The Barber of Seville, 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 masterclasses at the Accademia for years. He is considered to be the true heir to Sesto Bruscantin.
Tenor Salvatore Ragonese gained the diploma in singing at the V. Bellini Conservatory in Palermo with the highest marks and honors. He perfected his 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 as the Duke of Mantua in Rigoletto by Verdi. He participated in several singing competitions, winning the Mattia Battistini of Rieti, in 1986, with 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 his debut as Rodolfo in La bohème, at the Teatro del Giglio in Lucca in 1988, a season rich of commitments opens for the artist who becomes a protagonist of the national operatic scene.
His debut as 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 with 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 has been unanimously recognized as an opera talent from a young age. She has performed in the field of opera, operetta, oratorio 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 2011 she returned to Seoul with a recital entitled Rookie Vocalist Soprano.
With the support of Arts Council Korea, she has performed in 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.
She 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, first piano and since 1974 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.