Sara Fulgoni



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.

Read more


“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


More Reviews

“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  25 September 2017

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

Mark Ronan, 24 September 2017

“Sara Fulgoni is an ear-catching Fricka, exuding real authority.”

David Mellor, Mail Online 8 July 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

“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, 

“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