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The outstanding British Mezzo Sara Fulgoni has performed at the major opera and concert venues of the world 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), the Palau de les Arts Valencia (under Lorin Maazel), Geneva Opera, Welsh National Opera, English National 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) and Nicholas Lens’ Shellshock, A Requiem of War at La Monnaie in Brussels. She has sung much of the great mezzo repertoire, beginning with the baroque and classical heroines and now moving into the dramatic roles. Notable appearances include Judith Bluebeard's Castle with the Canadian Opera Company, Gran Teatre del Liceu in Barcelona,

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The outstanding British Mezzo Sara Fulgoni has performed at the major opera and concert venues of the world 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), the Palau de les Arts Valencia (under Lorin Maazel), Geneva Opera, Welsh National Opera, English National 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) and Nicholas Lens’ Shellshock, A Requiem of War at La Monnaie in Brussels. She has sung much of the great mezzo repertoire, beginning with the baroque and classical heroines and now moving into the dramatic roles. Notable appearances include Judith Bluebeard's Castle with the Canadian Opera Company, Gran Teatre del Liceu in Barcelona, Toulouse and Welsh National Opera; the Sorceress in Dido And Aeneas at La Scala and the Royal Opera House under Christopher Hogwood (Opus Arte DVD); Maddalena in Rigoletto at the Royal Opera House, La Monnaie, Opera National du Rhin and English National Opera; Penelope in Il Ritorno D'ulisse In Patria with the Bayerische Staatsoper, the Royal Danish Opera, Geneva Opera and Welsh National Opera; Juno in Semele at Opernhaus Zürich and De Vlaamse Opera; Baba the Turk in The Rake's Progress in Rome with Daniele Gatti and at the Teatro Comunale di Bologna;  Beatrice in Beatrice Et Benedict at De Nederlandse Opera and with the Welsh National Opera.  Other highlights include Hansel in Hansel and Gretel and Amando in Le Grand Macabre with San Francisco Opera; the title role in The Rape Of Lucretia for Vara Radio in Amsterdam, De Vlaamse Opera and for Radio France; Diana in La Calisto under Rene Jacobs in Montpellier, Lyon and Salzburg; Marguerite in La Damnation De Faust with the Brooklyn Academy of Music in New York; Orfeo in Orfeo Ed Euridice in La Coruna and Valladolid; Waltraute in Götterdämmerung with De Vlaamse Opera and English National Opera and Kundry in Parsifal for Welsh National Opera conducted by Vladimir Jurowski.

A committed concert artist, Sara has worked with Vladimir Ashkenazy, Riccardo Chailly, the late Richard Hickox, Kurt Masur, Riccardo Muti, Josep Pons, Jukka-Pekka Sarastre and the late Giuseppe Sinopoli. She has sung both Mahler Symphony No. 8 and Urlicht from Das Knaben Wunderhorn with the Royal Concertebouw 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.

Her many recordings include the Cherubini Mass In D Minor with Riccardo Muti at La Scala for EMI, Suor Angelica for EMI under Antonio Pappano, Elijah for Decca under Paul Daniel after performances at the Edinburgh Festival, Handel’s Dixit Dominus under Marc Minkowski for Archiv, Ned Rorem’s The Santa Fe Songs with Chamber Domaine for Black Box and Welcome To The Voice with Sting for DG.  She also took part in the acclaimed television series entitled 'The Genius of Beethoven' for the BBC.

Sara sings regularly with both Welsh National Opera where roles have included Le Prince Charmant Cendrillon, Orlovsky Die Fledermaus, Fenena Nabucco and also Grange Park Opera where she has sung the title role in Rinaldo, Adalgisa in Norma, Clairon in Capriccio, Paulina in Queen Of Spades, Suzuki in Madama Butterfly, Mere Marie in Dialogues Des Carmélites, Brangäne in Tristan and Dulcinee in Don Quichotte.  Recent seasons' engagements have included Duchess of York in Richard III at the Opera National du Rhin, '3 Abschied' - a dance project by choreographer Anne Teresa De Keersmaeker based on Gustav Mahler's song Abschied commissioned by La Monnaie with following performances in Lille, Theater an der Wien, Japan, Paris and Lisbon, Schumann's Faust Scenes at the Teatre del Liceu in Barcelona, Emilia in Otello Teatro Petruzzelli, Bari, title role in Rossini’s Otello in concert performances at the Buxton Festival, Fricka in Die Walkure at the St Endellion Festival in Cornwall, Schoenberg's Pierrot Lunaire at the Penarth Chamber Music Festival and Dalila in Samson Et Dalila at Grange Park.

Last season, she performed Mahler Symphony No.3 under Andrew Litton with the Bergen Philharmonic, Beroe in The Bassarids at the Teatro dell'Opera di Roma and returned to Grange Park for Brangäne in Tristan.

Fulgoni begins the 2016/17 season in recital at Haileybury where she will give the premiere performance of a new song cycle by Ben Parry. She will take on the role of Forester’s Wife in The Cunning Little Vixen at La Monnaie and sing Fricka in Die Walkure for Grange Park Opera’s inaugural season at West Horsley Place.

A graduate of the Royal Northern College of Music, where she was supported by the Peter Moores Foundation,  Sara Fulgoni is the recipient of numerous awards including second prize in the Kathleen Ferrier Awards in 1993.

 

September 2016

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Photos

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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

"Welcoming the presence of Sara Fulgoni that fits well into the company in the role of the nurse Beroe, and take home a great scene with Elgr / Dionysus, begging him to save Pentheus (Spare him, Dionysus)"

The Bassarids con la regia di Martone - Roma - Teatro dell'Opera - Michelangelo Pecoraro

"A ravishing outing for a rare Schoenberg... 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"

Pierrot Lunaire - Rian Evans The Guardian

"Sara Fulgoni sounds darkly seductive and at the same time possesses the regal air of the film star she is meant to be. She builds up the tension and expectations very well with long phrasing, before pulling out all the lyrical stops in the famous aria and subsequent duet ‘Mon coeur s’ouvre a ta voix’."

Samson et Dalila - Grange Park Opera - Camille Saint - Saens, acge.net

"Sara Fulgoni seizes the possibilities of the wily Dalila - one of opera;s great seductresses"

Samson et Dalila - Grange Park Opera - the guardian

"partnered as Dalila by mezzo Sara Fulgoni sounding its notes with confidence, warmth and a genuinely seductive quality."

Samson et Dalila - Grange Park Opera - George Hall, Opera News

"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

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

Shell-Shock - Opera Gazet

"Sara Fulgoni has a remarkable sense of drama and plays her character emotionally and vehemently, passionately too. She has the right tone of voice for Judit, the drama too."

Bluebeards Castle - Orchestre National du Capitole - Gil Pressnitzer, Culture31

"Sexy and alluring"

Rigoletto - Michel Le Naour Concert Classic

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

Otello - GB Opera

"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

"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

"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

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