Giuliana Gianfaldoni is one of the most outstanding Italian young singers of her generation. Born in Taranto, she studied at Conservatory “G.B. Martini” in Bologna and developed her technique with M. Antonella D’amico in Verona.
Giuliana won the 65th ASLICO competition for young singers in 2014 and was awarded with the first prize at Ottavio Ziino International Voice Competition in Rome (2015).
She had her debut at Ópera de Tenerife in Mozart ‘s Così fan tutte as Despina and the following year she returned as Zerlina in Don Giovanni. It was her outstanding interpretation at Salzburg Festival YAP as Konstanze in Die Entführung aus dem Serail that captured the international attention.
Her remarkable engagements include Adina in Elisir d’Amore at Teatro Municipale in Piacenza and at Teatro Alighieri di Ravenna directed by Leo Nucci and conducted by Stefano Ranzani, Carmina Burana with La Filarmonica Toscanini of Parma, Orchestra della Toscana (ORT) and MITO Festival under the baton of Daniele Rustioni, Zerlina in Don Giovanni at Teatro Carlo Felice in Genova, Micaela in Carmen at Ópera de Tenerife, at Teatro Aurora di Gozo and Teatro Regio in Torino, Oscar in Un ballo in maschera at Teatro Verdi in Sassari, Susanna in Nozze di Figaro at Opéra de Toulon, Lauretta in Gianni Schicchi at Opéra de Montpellier, Giustina in Margherita by J. Foroni and Gilda in Rigoletto at Wexford Festival Opera. Recently she has also appeared in new roles as Lisette in La Rondine at Teatro Carlo Felice of Genova and Marie in La Fille du Régiment at Teatro Verdi in Trieste. She appeared at Teatro Petruzzelli as Gilda and Nannetta. She sang directed by Pierluigi Pizzi at Teatro Massimo in Palermo in Idomeneo as Ilia and was invited there to sing Nannetta conducted by Daniel Oren and the Rossini’s Stabat Mater under the baton of Michele Spotti. She sang as Zaide in Zaide by Mozart directed by Graham Vick and After that she took part of Un ballo in maschera which was one of another show staged by him.
Corinna is one of her most successful role, she sang it in Tenerife and in Pesaro during Rossini Opera Festival 2019. She has a very beautiful relationship with the ROF where she performs every year: La cambiale di matrimonio in 2020, Stabat Mater in 2021, many concerts in 2024 with orchestra and the Cantata in morte di Didone in 2025.
She performed many times as Gilda in Rigoletto in Palermo conducted by Daniel Oren and at Teatro Regio in Turin under the baton of Nicola Luisotti and directed by Leo Muscato which was one of the most succesfull production for her.
One of the role she sang the most is Marie in La Fille du Regiment, last time at Teatro Petruzzelli in Bari.
She performed a lot in concerts with Orchestra as Pergolesi Stabat Mater with Orchestra della Rai in Turin, Carmina Burana at Accademia Santa Cecilia in Rome and at Macerata Opera Festival, last year.
She was one of the singers who sang at the Christmas Concert at Senato, conducted by Michele Spotti live on Rai1, italian Most important TV Channel.
Among her next engagements: she is singing two Productions of Carmen as Micaela in Genova at Teatro Carlo Felice and in Seville at Teatro de la Maestranza with Emilio Sagi as Director and Renato Renzetti as Conductor. Then she will perform in many concerts as in Classiche Forme with Beatrice Rana this Summer, and at ROF and at Caracalla in Rome with Carmina Burana.
After that she will appear at Festival Verdi in Parma in Falstaff, at Teatro Comunale in Bologna with La Boheme and in other concerts at Santa Cecilia in Rome and in Turin with Orchestra della Rai.
New debut will be next year in Lucia di lammermoor at Theatre Capitole de Toulouse and in Mitridate Re di Ponto at Teatro San Carlo in Naples.
Gianluca Macheda
ul. Grzybowska 43a, lok. 72 00-855
Warsaw Poland
gmacheda@gmartandmusic.com
Stefania Ramacciotti
Via Romana 578/B 55100 Lucca, Italy
+39 3479762848
sramacciotti@gmartandmusic.com
Giuliana Gianfaldoni regala una Micaëla incantevole: linea di canto flessuosa, fraseggio misurato,
smorzature piene e appoggiate ne fanno un personaggio fragile ma non etereo, solido nel suo lirismo.
Antonino Trotta, Ape Musicale
Giuliana Gianfaldoni trova in Gilda un personaggio particolarmente congeniale. La virginale luminosità
timbrica e un canto liliale si adattano perfettamente al personaggio cui non guasta anche una sensibilità
interpretativa che ci è parsa più in sintonia rispetto ad altri ruoli più estroversi. La voce è piacevole e tolta
una certa tendenza a velarsi nel settore medio grave acquisisce corpo e presenza salendo in acuto dove
svetta con ammirevole sicurezza. Le mezzevoci, il controllo del fiato sono le sue armi migliori è il
personaggio è perfetto per esaltarle.
GB OPERA
Un encomio particolare va tributato, tra i cantanti, alla Gilda di Giuliana Gianfaldoni, soprano dal canto
duttile e sofisticato, capace di sfumature soavi e sottili nell’applauditissima ‘Caro nome’, dove sfodera
un’ineccepibile tecnica nel rendere al meglio le impervie colorature, così come nell’estremo ‘Lassù in
cielo’, ma anche di un involarsi corposo nelle regioni più acute di ‘Tutte le feste al tempio’. Il suo
personaggio si impone ad ampio spettro per agilità vocale, cura nel fraseggio e prestanza drammatica,
suggellando una serata di alto livello.
Alberto Ponti, Ape Musicale
Giuliana Gianfaldoni ha delineato una Marie incantevole anche scenicamente, con una malia, una levità
ed un brio che raramente è dato ascoltare. Ha superato con naturalezza l’ardua coloratura elaborata da
Donizetti per la sua parte, e con il suo timbro luminoso, unito a un fraseggio dolente e malinconico, ha
magnificamente interpretato le due intense arie patetiche: “Il faut partir!” e “Par le rang et par l’opulence”.
Eraldo Mattucci, Opera Click