Sara Fulgoni

Mezzo-Soprano

Biography

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.

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Reviews

“the fiercest Fricka I have seen in the last 50 years, Sara Fulgoni, whose demolition of the god’s view that he wasn’t responsible for how his children behaved achieved cosmic force”

 

Michael Tanner

the Spectator

“The magnificent Sara Fulgoni brings a Kundry-like physicality to the liminal, shadowy role of Marfa…sounding completely at ease in the lower register which Mussorgsky mercilessly exploits, she’s mesmerising in the long incantation-scene…she’s as compelling in stillness and silence as when pouring forth imprecations and invocations.”

 

Katherine Cooper

bachtrack

More Reviews

“Sara Fulgoni (Mistress Quickly) as her characterful accomplices. Articulation is excellent from all, every word audible.”

Fiona Maddocks The Guardian 19 June 2021

“Sara Fulgoni’s Mistress Quickly – all luscious voice and twinkling eyes”

Alexandra Coghlan i News 14 June 2021

“Sara Fulgoni’s Quickly is much more than the usual go-between. In fact she saucily ventures into Falstaff’s bed.”

Richard Morrison The Times 11 June 2021

“Luigi Dallapiccola’s one-act The Prisoner from 1949 opened with Sara Fulgoni grieving powerfully over her son’s imprisonment. Beautifully accompanied by a Mahler-sized BBC National Orchestra of Wales (not the WNO home team on this occasion) under Lothar Koenigs, this was one of the high points of the evening, with the lightly written score creating subtle and emotionally intense pairings.”

Lucien Jenkins The Critics’ Circle 23 June 2019

“A mother (a magnificent Sara Fulgoni) sings of her pain, building to a harrowing scream amplified by orchestra and offstage chorus, and sending us tumbling into terror.”

Rebecca Franks The Times 18 June 2019

“the tormented despair of Sara Fulgoni’s The Mother…the Mother nurses her grief in stillness. It’s as focused as desperation itself.”

Nigel Jarrett Wales Arts Review 18 June 2019

“While the archetypal lamenting mother, Sara Fulgoni – vividly reflecting extremes of anguish – was a presence almost throughout”

Rian Evans The Guardian 16 June 2019

The Prisoner had opened with a fine impassioned account of the Prologue by Sara Fulgoni – singing about as well as I have ever heard her.”

Glyn Pursglove Seen and Heard International 15 June 2019

“Sara Fulgoni as The Mother, gets an impassioned scene of mania, visiting her son in the prison. Fulgoni makes this opening moment, with her blockbuster high register, petrified by a vision of King Phillip of Spain, transforming into a symbol of death.”

The Sprout 

“Sara Fulgoni works up some suitably histrionic outbursts as Marfa, the Mystic Meg of 17th-century Muscovy.”

Richard Morrison The Times 26 September 2017

“Marfa (Sara Fulgoni) glides crazily, prophetically between factions”

Steph Power Independent 25 September 2017

“the women were led by Sara Fulgoni magnificent as Marfa”

Brian Dickie briandickie.com  25 September 2017

“the sinuous voice of Sara Fulgoni showing excellent vocal quality over a wide range of registers.”

Mark Ronan, markronan.com 24 September 2017

“surely Sara Fulgoni’s Fricka must be the most indignant portrayal there has ever been…As hinted at above, Sara Fulgoni’s resplendently sung Fricka was total convincing in its dramatic detail and her long ‘conversation’ with Wotan never seemed half as long as it sometimes can.”

Jim Pritchard, Seen and Heard International 3 July 2017

“Sara Fulgoni more vivid still as a blazing Fricka, who sets about Wotan in a memorable encounter over the breakfast table.”

Richard Fairman, Financial Times 2 July 2017

” In a quite superb portrayal, Sara Fulgoni, done up in Lincoln green like the formidable W.I. Monster Fricka might have been, relishes the compelling narrowness  of this unlovely character.”

Richard Ely, bachtrack 30 June 2017

“Sara Fulgoni sings and acts magnificently as Fricka in a handsome, tailored riding habit”

Peter Reed, Classical Source 29 June 2017

” Sara Fulgoni was implacable and agonised as Brangäne.”

Fiona Maddocks The Guardian 17 July 2016

“Sara Fulgoni is a superb Brangäne with a rich and sumptuous mezzo-soprano”

Sam Smith Music OMH 16 July 2016

“Sara Fulgoni was an outstanding Brangane”

Katerina Yannouli Plays To See International Theatre Reviews 16 July 2016

“Sara Fulgoni seemed to have the technique and security needed for Isolde and the radiance of her top notes was what was sometimes lacking from Rachel Nicholls. Ms Fulgoni also compellingly conveyed the weight of her character’s sense of responsibility for the lovers’ sufferings.”

Jim Pritchard Seen and Heard International 14 July 2016

“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)”

Michelangelo Pecoraro, Opera Click 6 December 2015

“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’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.”

Peter Reed, Classical Source June 24 2015

“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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