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The British Mezzo Sara Fulgoni is an outstanding vocal and dramatic talent, performing at major opera and concert venues worldwide in a huge variety of repertoire, all to critical acclaim. The full, rich and lustrous quality of her voice, as well as her remarkable stage presence, have distinguished her operatic performances, and Bizet’s Carmen has become a foundation of her work. She has sung the role for Santa Fe Opera, Toulouse (under Michel Plasson), English National Opera, Welsh National Opera, the Palau de les Arts Valencia (under Lorin Maazel), Geneva Opera and at the Beijing Music Festival, where she became the first western interpreter of the role to be presented in the capital of China since the Cultural Revolution. Sara created the title role in the world premiere of Tobias Picker’s opera Thérèse Raquin at Dallas Opera (also recorded for Chandos). Further notable appearances include Hänsel in Hänsel und Gretel and Amando  Le Grand Macabre with San Francisco Opera, Judith Bluebeard’s Castle with the Canadian Opera Company, Welsh National Opera and the Gran Teatre del Liceu in Barcelona, the title role in The Rape of

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The British Mezzo Sara Fulgoni is an outstanding vocal and dramatic talent, performing at major opera and concert venues worldwide in a huge variety of repertoire, all to critical acclaim. The full, rich and lustrous quality of her voice, as well as her remarkable stage presence, have distinguished her operatic performances, and Bizet’s Carmen has become a foundation of her work. She has sung the role for Santa Fe Opera, Toulouse (under Michel Plasson), English National Opera, Welsh National Opera, the Palau de les Arts Valencia (under Lorin Maazel), Geneva Opera and at the Beijing Music Festival, where she became the first western interpreter of the role to be presented in the capital of China since the Cultural Revolution.

Sara created the title role in the world premiere of Tobias Picker’s opera Thérèse Raquin at Dallas Opera (also recorded for Chandos). Further notable appearances include Hänsel in Hänsel und Gretel and Amando  Le Grand Macabre with San Francisco Opera, Judith Bluebeard’s Castle with the Canadian Opera Company, Welsh National Opera and the Gran Teatre del Liceu in Barcelona, the title role in The Rape of Lucretia for VARA Radio in Amsterdam and for Radio France, Marguerite La Damnation de Faust with the Brooklyn Academy of Music in New York, Tippett’s A Child of Our Time and Waltraute Götterdämmerung with English National Opera, Orfeo ed Euridice in Valladolid and La Coruna, Diana La Calisto under René Jacobs in Montpellier, Lyon and Salzburg, Béatrice Béatrice et Benedict for De Nederlandse Opera, Lola Cavalleria Rusticana with the Geneva Opera and Penelope Il Ritorno d’Ulisse in Patria with the Bayerische Staatsoper, the Royal Danish Opera and Geneva Opera. Sara sings regularly with Welsh National Opera, where roles have included Béatrice, Orlofsky Die Fledermaus and Kundry Parsifal, conducted by Vladimir Jurowski. She made her debut at the Royal Opera House as Federica Luisa Miller. Other highlights include Juno Semele at the Opernhaus Zurich, Baba the Turk The Rake’s Progress in Rome with Daniele Gatti and at the Teatro Comunale di Bologna, Sorceress Dido and Aeneas at La Scala under Christopher Hogwood, Juno and Waltraute with De Vlaamse Opera, Margret Wozzeck for La Monnaie and Adalgisa Norma for Grange Park Opera. Sara also returned to De Vlaamse Opera for the title role in The Rape of Lucretia and to the Royal Opera House as Sorceress and Maddalena Rigoletto.

 

A committed concert artist, Sara has worked with Riccardo Chailly, Vladimir Ashkenazy, Riccardo Muti, Jukka-Pekka Sarastre, Richard Hickox, Josep Pons, and the late Giuseppe Sinopoli. She has sung both Mahler’s Symphony No. 8 and Urlicht from Des Knaben Wunderhorn with the Royal Concertgebouw Orchestra under Riccardo Chailly, both of which were also recorded by Decca. She performed John Adams’ El Nino in concert with the Flanders Philharmonic Orchestra. In recital Sara has appeared at the Concertgebouw, Wigmore Hall, the Montreux-Vevey Festival and in the Chatelet’s Midis-Musicaux series.

 

Recordings include Elijah for Decca under Paul Daniel after performances at the Edinburgh Festival, Verdi’s Oberto for Philips under Sir Neville Marriner, Suor Angelica for EMI under Antonio Pappano and the Cherubini Mass in D Minor with Riccardo Muti at La Scala for EMI. She also took part in the acclaimed television series entitled “The Genius of Beethoven” for the BBC.

 

Recent season’s engagements included Duchess of York Richard III at the Opera National du Rhin in Strasbourg, a return to Grange Park Opera for Strauss’ Capriccio, "3 Abschied" - a dance project by choreographer Anne Terese De Keersmaeker based on Gustav Mahler’s song Abschied and commissioned by La Monnaie in Brussels, with consecutive performances in Lille, Theater an der Wien, Japan and Paris; other performances were Götterdämmerung at the Opera National du Rhin, Brangäne Tristan und Isolde for Grange Park Opera and Fricka Die Walküre at the St Endellion Festival of Music in Cornwall. In the 2011/12 season Sara sang the female title role in Béatrice et Bénedict for Welsh National Opera, Schumann’s Faust Scenes at the Teatre del Liceu in Barcelona, "3 Abschied" at Sadler’s Wells and Paulina Queen of Spades and Suzuki Madama Butterfly for Grange Park Opera.

 

Performances in the 2012/13 season included "3 Abschied" in Lisbon and Emilia Otello at Teatro Petruzzelli, Bari. This season, Sara will return to her role as Maddalena Rigoletto in Brussels and at the Opera National du Rhin, Judith Bluebeard’s Castle in concert at the Opera National du Capitole de Toulouse as well as Dulcinee Don Quichotte with the Grange Park Opera. Future plans include the world premiere of Nicholas Lens’ Shell Shock, a Requiem of War at La Monnaie in Brussels and Samson et Dalila for the Grange Park Opera.

 

A graduate of the Royal Northern College of Music, Sara Fulgoni is the recipient of numerous awards including second prize in the Kathleen Ferrier Awards in 1993.

October 2013

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Reviews

"Sara Fulgoni’s luxurious performance of Dalila, fatal seduction oozing out of her beautiful mezzo. Her singing caressed the life out of Samson in ‘Mon coeur s’ouvre à ta voix’, and her portrayal as a corrupt consort… was sharply directed."

Samson and Delilah - Peter Reed Classical Source

"To start with Brangaene, I do not think I have ever heard Sara Fulgoni act and sing anything better. Expressive in face and voice, she produced a gorgeously rich mezzo that rode effortlessly over the orchestra, especially in the decisive lower register."

Tristan und Isolde, Grange Park Opera - Mike Reynolds, MusicalCriticism

"Sara Fulgoni was in fine voice as Béatrice, especially impressive in 'Dieu! Que viens-je de'entendre', a piece in which ones feels the shadow of another of Berlioz's heroes Gluck."

Beatrice & Benedict, WNO - Glyn Pursglove, Seen and Heard International

"Fulgoni's Beatrice is robustly characterised and her voice is as well-nourished as her wit. And we certainly feel the heat of that strange fire within her as she rises to the demands of both pride and ardour in her great Act II scene."

Beatrice & Benedict, WNO - The Times

"Sara Fulgoni as Polina seized her moment in her one atmospheric aria and produced gorgeous, effortless low mezzo sound – this was a lollipop in the score if ever there was one."

The Queen of Spades - Mike Reynolds Musical

"Particularly Sara Fulgoni , Emilia of a great emotional intensity.."

Otello - GB Opera

"Sexy and alluring"

Rigoletto - Michel Le Naour Concert Classic

"…this occasion was unusual for featuring mezzo Sara Fulgoni. Her rich tone, especially in the chest range, offered an engagingly different aural perspective, the words often more sung than spoken, the dark timbre of her voice was perfect in Nacht and its expressionistic gloom. And after its rapport with Alice Neary’s cello, the gentle rocking of the boat taking Pierrot back to his native Bergamo had an understated beauty, with the work as a whole realising both intimacy and a remarkable intensity"

“A Ravishing Outing for a Rare Schoenberg” - Rian Evans The Guardian

" Highly expressive, with an excellent technical mastery, was the mezzo soprano Sara Fulgoni"

Shell-Shock - Opera Gazet

"Much better the mezzo-soprano Sara Fulgoni, the warm voice and technically solid, stands out for its expressiveness and the acting abilities especially in the singing of the mother, one of the most beautiful and intense of the whole work"

Shell-Shock - GB Opera – Nov 4 2014