Soprano

Giulia Semenzato

Highlights of the 2019/20 season include Giulia’s role debut in Cavalli’s Ercole amante under Raphaël Pichon at the Opéra Comique performing as Cinzia/Venere/Bellezza and a return to the role of Zerlina Don Giovanni at the Theater an der Wien with Giovanni Antonini.

© Stefano Padoan

Introduction

A winner of the International Competition Toti dal Monte in Treviso and the ‘Premio Farinelli’ at the Concorso Lirico Cittá di Bologna, Italian soprano Giulia Semenzato studied at the Benedetto Marcello Conservatory in Venice and specialised in Baroque music at the Schola Cantorum in Basel, after completing a Bachelors degree in International Law at the University of Udine.

Giulia has continued to champion music from the Baroque era and is an established recording artist. For Arcana, she has recorded Logroscino’s Stabat Mater, and for Accent, Handel’s Messiah under Václav Luks with the Collegium 1704 & Collegium Vocale 1704. Giulia’s debut recording was Cavalli’s Sospiri d’amore under Claudio Cavina for Glossa.

Highlights of the 2019/20 season include Giulia’s role debut in Cavalli’s Ercole amante under Raphaël Pichon at the Opéra Comique performing as Cinzia/Venere/Bellezza and a return to the role of Zerlina Don Giovanni at the Theater an der Wien with Giovanni Antonini. At Opéra de Lille she will interpret Nanetta Falstaff, and at the Drottningholms Slottsteater Stockholm she takes on Poppea Agrippina. In concert, she returns to the Mozarteum Foundation, Salzburg for a programme of Mozart during its annual ‘Mozartwoche’ under Riccardo Minasi. Later she returns to the Theater an der Wien for Susanna Le nozze di Figaro and makes her highly anticipated Royal Opera House debut.


Performance Schedule

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    20:00 04 Nov 2019 Opera Comique, PARIS

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Ercole: Nahuel Di Pierro
    Giunone: Anna Bonitatibus
    Dejanira: Giuseppina Bridelli 
    Jole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    20:00 06 Nov 2019 Opera Comique, PARIS

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Ercole: Nahuel Di Pierro
    Giunone: Anna Bonitatibus
    Dejanira: Giuseppina Bridelli 
    Jole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    20:00 08 Nov 2019 Opera Comique, PARIS

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Ercole: Nahuel Di Pierro
    Giunone: Anna Bonitatibus
    Dejanira: Giuseppina Bridelli 
    Jole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    15:00 10 Nov 2019 Opera Comique, PARIS

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Ercole: Nahuel Di Pierro
    Giunone: Anna Bonitatibus
    Dejanira: Giuseppina Bridelli 
    Jole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    20:00 12 Nov 2019 Opera Comique, PARIS

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Ercole: Nahuel Di Pierro
    Giunone: Anna Bonitatibus
    Dejanira: Giuseppina Bridelli 
    Jole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    19:00 23 Nov 2019 Château de Versailles: Chapelle Royale, VERSAILLES

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Director: Valérie Lesort
    Ercole: Nahuel Di Pierro
    Cinzia, La bellezza, Venere: Giulia Semenzato
    Nettuno, Tevere, Eutryo: Luca Tittoto
    Licco: Dominique Visse
    Sonno: Eugénie Lefebvre
    Paggio: Ray Chenez
    Giunone: Anna Bonitatibus
    Deianira: Giuseppina Bridelli 
    Iole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    15:00 24 Nov 2019 Château de Versailles: Chapelle Royale, VERSAILLES

    FRANCESCO CAVALLI Ercole amante

    Conductor: Raphaël Pichon
    Director: Valérie Lesort
    Ercole: Nahuel Di Pierro
    Cinzia, La bellezza, Venere: Giulia Semenzato
    Nettuno, Tevere, Eutryo: Luca Tittoto
    Licco: Dominique Visse
    Sonno: Eugénie Lefebvre
    Paggio: Ray Chenez
    Giunone: Anna Bonitatibus
    Deianira: Giuseppina Bridelli 
    Iole: Francesca Aspromonte
    Hyllo: Krystian Adam

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    24 Sep 19 MOZART Don Giovanni
    Theater an der Wien

    “Eine echte Entdeckung ist die Italienerin Giulia Semenzato, die eine jugendlich frische Zerlina auf die Bühne brachte und mit einer bruchlos geführten, zu herrlichen Legatobögen fähigen, Stimme aufhorchen ließ. Ihr Timbre ist dabei angenehm dunkel und schmilzt wie eine Zartbitter-Lindor-Kugel; in ihrer Darstellung blieb sie frei von jeglichen Klischees, zeigte Zerlina nicht als naiv und flatterhaft, sondern als Frau, die sich dem charismatischen Lebemann Don Giovanni nur schwer entziehen kann, obwohl sie ihren Bräutigam aufrichtig liebt.”

    (Translated) “A real discovery is the Italian Giulia Semenzato, who brought a youthfully fresh Zerlina on the stage and with an unbroken led, capable of splendid legato sheets, voice spoke up. Her timbre is pleasantly dark and melts like a bittersweet Lindor ball; In her portrayal, she was free from any cliché, showing Zerlina not as naive and flighty, but as a woman who can hardly escape the charismatic bon vivant Don Giovanni, although she truly loves her bridegroom.”

    Isabella Steppan, Bachtrack, 26 September 2019 

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    04 Sep 19 L'urlo di Armida
    Incontri Asolani

    “Semenzato interpreta sia i radi interventi di Clorinda, sia la parte del Testo solitamente addidata a voci maschili. Il suo Combattimento è naturale e fluische privo di difficoltà e affettazione, con un’ornamentazione sobria e una varietà di inflessioni(…).

    Dà un effetto melenso e didascalico, inoltre, l’uso di un suono organistico nel finale quando la morte di Clorinda à interpretata in maniera tanto intensa da Giulia Semenzato.

    Senza un’intonazione pressoché infallibile e un controllo totale sulla voce, l’uso dell’elettronica risulterebbe sgraziato e mistificatorio, teso a correggere imperfezioni di voci e strumenti. Non è questo il caso, in cui la consapevolezza e la qualità degli interpreti si sposa con una tecnologia che tradisce studio, comprensione e interpretazione coerente di un testo, rivelandosi in grado di dialogare con gli strumenti della tradizione.”

    (Translated) “Semenzato interprets both the radiological interventions of Clorinda, and the part of the text, usually entrusted to male voices. Her combat is natural and flows without difficulty and affectation, with with a sober ornamentation (…).

    The use of an organistic sound in the ending gives a melodic and didactic effect, when Clorinda’s death is interpreted so intensely by Giulia Semenzato.

    Without an almost infallible intonation and total control over the voice, the use of electronics would be ungraceful and mystifying, aimed at correcting imperfections in voices and instruments. This is not the case, as the awareness and quality of the interpreters is combined with a technology that betrays the study, understanding and coherent interpretation of a text, revealing itself able to dialogue with traditional instruments.”

    Mauro Masiero, Connessi all’Opera, September 2019

     

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    08 Aug 19 HANDEL Rinaldo
    Glyndebourne

    “The other star is Giulia Semenzato’s captivating Almirena, singing the opera’s hit number, Lascia ch’io pianga (Let me weep), with artless grace.”

    Hugh Canning, The Sunday Times, 18 August 2019

    “Giulia Semenzato made for a sweet, pure-toned Almirena, duetting exquisitely with the piccolo in “Augelletti, che cantate”, while her short phrases gave her vocal line in the hit number “Lascia ch’io pianga” an appropriately sobbing effect.”

    Mark Pullinger, Bachtrack, 9 August 2019

    “Giulia Semenzato sings a touching Almirena”

    Richard Fairman, Financial Times, 9 August 2019

    “Almirena – was beautifully sung by Giulia Semenzato.”

    Miranda Heggie, The Arts Desk, 9 August 2019

    “(…) good match for Giulia Semenzato as Almirena, who sings the opera’s sublime hit, Lascia ch’io pianga, with winning grace.”

    Richard Morrisson, The Times, 12 August 2019

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    28 May 19 MONTEVERDI L'Orfeo
    Théâtre des Champs Elysées

    La Musica de Giulia Semenzato révèle d’emblée une autre vertu, essentielle, de cet Orfeo : la primauté du dire. Fine et flexible, la voix sert l’intelligence du texte dont cette interprète recherchée du Seicento n’ignore aucune inflexion, tour à tour impérieuse et ensorcelante. Primauté du dire mais aussi du théâtre, notamment dans les échanges des Premier et Second Berger, débordant de naturel et qui créent l’illusion de la spontanéité.

    (Translated) “‘The Musica’ of Giulia Semenzato immediately reveals another essential virtue of this Orfeo: the importance of saying. Fine and flexible, the voice serves the intelligence of the text of which this sought-after interpreter of the Seicento does not ignore any inflection, in turn imperious and bewitching. Primacy of the say but also of the theater, in particular in the exchanges of the First and Second Shepherd, overflowing with naturalness and which create the illusion of the spontaneity.

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    22 Oct 18 MOZART La finta giardiniera
    Teatro alla Scala

    “Giulia Semenzato’s soprano was high, bright and spotless. Her voice has a melancholic quality which, in my opinion, would make her well suited to more serious roles; however, her interpretation of the clever, cunning servant was quite enjoyable.”

    Laura Servidei, Bachtrack, October 2018

    “(…) di Giulia Semenzato, Serpetta pungente e ben a fuoco”

    [Translated] “(…) from Giulia Semenzato, a sharp and well-focused Serpetta”.

    L’ape musicale, October 2018

    ” La Serpetta de Scemenzato no es Despina ni Susanna pero las anuncia, y es la que tiene momentos de mayor compromiso en la zona aguda: (…) la cantante es buena y llega a los extremos más altos con buena técnica aunque con reflejos muy metálicos.”

    “Semenzato’s Serpetta is not Despina or Susanna but more pronounced, and it is the one that has moments of greatest commitment in the acute area: (…) the singer is good and reaches the highest extremes with good technique and with metallic reflexes.”

    Mundo Clasico, November 2018

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    06 Aug 17 MOZART Così fan tutte
    Drottingholm Court Theatre

    “Giulia Semenzato was an appropriately spirited Despina; her high register was pleasing and her acting funny and lively.”

    Laura Servidei, Bachtrack, August 2017

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    02 Feb 17 VERDI Falstaff
    Teato alla Scala

    “(…) and Giulia Semenzato (Nannetta) were particularly applauded.”

    Renato Verga, Bachtrack, February 2017

Read Giulia’s article in Amadeus Magazine about the project L’Urlo di Armida, a fusion of Renaissance and Baroque with electronic music, first performed in September 2019.

Repertoire

OPERA
BEETHOVEN Fidelio (Marceline)*
BELLINI I Capuleti e I Montecchi (Giulietta)*
BELLINI La Sonnambula (Lisa)
CAVALLI La Calisto*
CAVALLI L’Eritrea
CAVALLI Elena
CHARPENTIER Orfeo agli inferi (Euridice)
CIMAROSA Il matrimonio segreto (Elisetta, Carolina)
CONTI Don Quichotte en la Sierra Morena (Ordogno)
DE NEBRA Vendado es amor, no es ciego (Anquises)
DONIZETTI Don Pasquale (Norina)*
DONIZETTI L’elisir d’amore (Adina)*
HANDEL Agrippina (Poppea)*
HANDEL Orlando (Dorinda)
HANDEL Rinaldo (Almirena)
HANDEL Saul (Michael)
HUMPERDINCK Hänsel und Gretel (Gretel)*
MASSENET Werther (Sophie)*
MONTEVERDI Orfeo (Euridice)
MONTEVERDI Incoronazione di Poppea (Poppea)*
MOZART Così fan tutte (Despina)
MOZART Die Zauberflote (Pamina)*
MOZART Don Giovanni (Zerlina)
MOZART Clemenza di Tito (Servilia)
MOZART Idomeneo (Ilia)*
MOZART La Finta Giardiniera (Serpetta)
MOZART Lucio Silla (Celia)
MOZART Nozze di Figaro (Susanna)*
PICCINI La Cecchina (Sandrina)
POULENC Dialogues des Carmélites (Soeur Constance) *
POULENC Les Mamelles de Tiresias (Thérèse) *
PURCELL Dido and Aeneas (Belinda)*
RAVEL L’enfant et les Sortilièges (Feu, Le Rossignol) *
ROSSI Orfeo (Venere, Proserpina)
STRAUSS Der Rosenkavalier (Sophie)*
STRAUSS Die Fledermaus (Adele)*
STRAVINSKY The Rake’s Progress (Ann Trulove) *
VERDI Falstaff (Nanetta)
VIVALDI Juditha Triumphans (Abra)
VON WEBER Der Freischütz (Ännchen)*

CONCERT
BRAHMS Requiem*
FALCO Oratorio (Sant Michel)
FAURE Requiem*
HANDEL Messiah
HANDEL Il delirio amoroso
LOGROSCINO – Stabat Mater
MENDELSSOHN A Midsummer Night’s Dream*
MONTEVERDI Combattimento di Tancredi e Clorinda
MOZART Coronation Mass
MOZART Esultate Jubilate
MOZART Mass in C Minor*
MOZART Requiem
PERGOLESI Stabat Mater
POULENC Gloria
SCARLATTI Davide e Golia
STRADELLA San Giovanni Battista (Salome)
VIVALDI Gloria
ZELENKA Genu al Calvario

*In preparation