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"Julia Rutigliano [captivated] not only with her passionate interpretation [...] but also vocally, with the bright coloring, dramatic undertones, assuredness and power of her mezzo-soprano.” Opernnetz
The German-Italian mezzo-soprano Julia Rutigliano captivates audiences with her powerful voice and passionate performances on opera and concert stages the world over. The work of Wagner is a central feature of her repertoire and comprises many of her roles. During her studies in Munich at the Hochschule für Musik und Theater and the Bayerischen Theaterakademie, from which she graduated with honours in 2005, she sang the Fox in in Janáček’s The Cunning Little Vixen, Helena in Offenbach’s Die schöne Helena, Beatrice in Berlioz’s Beatrice et Benedikt and Donna Elvira in Mozart’s Don Giovanni.
Following this were stints at the Opera Studio of the Staatstheater Nürnberg and as an ensemble member of the Staatstheater Braunschweig, where she performed roles such as Olga in Tchaikovsky’s Eugene Onegin, Suzuki in Puccini’s Madama Butterfly, Hermia in Britten’s A Midsummer Night’s Dream, Donna Elvira in Mozart’s Don Giovanni, Aksinja in Shostakovich’s Lady Macbeth of Mzensk, Orlofsky in Strauss’s Die Fledermaus and the title role in Bizet’s opera Carmen. In 2012 she also thrilled audiences as Carmen at the Seefestspielen Berlin under Volker Schlöndorff’s musical direction. At the Deutsche Nationaltheater Weimar, Julia Rutigliano made her debut in 2014 as Charlotte in Massenet’s Werther and as Octavian in Strauss’s Rosenkavalier; she also triumphed in the title role of Donizetti’s La Favorite at the Staatstheater Cottbus. Recent engagements have taken her again to DNT Weimar, this time as Gertrud in Hänsel und Gretel, and to Warsaw’s Opera Narodowa as Carmen and to the Greek National Opera in Athens, in the title role for the premiere of Georges Dousis’s opera Hedda Gabler.
Julia Rutigliano has also distinguished herself in the Wagner repertoire – Opernwelt magazine called her "an outstanding Venus, with rich, dramatic vocals and incredible acting skills.” After singing the role of Siegrune in Wagner's Walküre (staging: Fura dels Baus) at the Maggio Musicale Fiorentino and at the Palau de les Arts in Valencia in 2013 under Zubin Mehta’s musical direction, the conductor invited her to Florence again the following year, this time as Brangäne in Wagner's Tristan und Isolde. In Valencia, she stepped in during dress rehearsals for Elisabeth Kulman as Fricka. Also in 2013, the singer made her debut at the Bayreuth Festival: under Kirill Petrenko, she performed in Frank Castorf’s staging of Ring des Nibelungen – as Wellgunde in Das Rheingold and Götterdämmerung and as Siegrune in Die Walküre; in 2014 and 2015, she returned there to reprise these roles. As Sigrune, she had her debut in 2016 at the Semperoper Dresden under the musical direction of Christian Thielemann, under Daniel Barenboim at the Staatsoper in the Schiller Theater Berlin (to be reprised again in 2019 at the Staatsoper Unter den Linden) and under Valery Gergiev in a concert performance at the Concertgebouw in Amsterdam. In 2017 she also gave concert performances under Marek Janowski as Wellgunde at the Elbphilharmonie, and at the Konzerthaus Dortmund and the Festspielhaus Baden-Baden. Additionally, she performed Grimgerde in the Walküre under Jaap van Zweden 2017 in Beijing, a co-production of the Salzburg Easter Festival. In 2020, she will perform Siegrune under the direction of Philippe Jordan in a new production staged by Calixto Bieito at the Opéra Bastille in Paris.
In concert performance, performing Verdi's Requiem with the Bayerischen Staatsorchester 2015 was one of her personal highlights. She continued her collaboration with Zubin Mehta in 2014, with Mahler's 2nd Symphony at the Israel Philharmonic Orchestra, Beethoven's 9th Symphony at the Maggio Musicale in Florence, and Bruckner's Te Deum with the Symphonieorchester des Bayerischen Rundfunks, and in 2018 with Mozart's Coronation Mass at the Israel Philharmonic Orchestra. In addition, contemporary works by composers such as Thomas Adès, Detlev Glanert and Moritz Eggert – which she performed at the Bonn Theater, the festival A•DEvantgarde and the Munich Biennale – are musically very dear to her.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
With a clear, soft and nuanced soprano, Julia Rutigliano is persuasive as a playful Octavian. She is convincing even vocally as the seventeen-year-old romanticist, very nicely portrayed here as a post-pubescent revolutionary.
Opernnetz, Andreas M. Bräu, 15/04/2015
Just as Charlotte cannot escape her world, Julia Rutigliano leaves the stage only when it's truly over –a concept whose success hangs on the singer’s abilities. In Weimar, it holds up, as Rutigliano is so vocally and dramatically convincing, so precise, that those around her pale in comparison to all the singer’s brilliance.
Ostthüringer Zeitung, Angelika Bohn, 20/11/2014
With Charlotte's supplication, "Erhöre mein Gebet", Julia Rutigliano showed herself to be the emotional beacon of the evening.
Thüringer Allgemeine Zeitung, Ursula Mielke, 20/11/2014
In the en travesti role of Octavian, Julia Rutigliano stunned not only with her marvelous acting, in which her turn as the coquettishly naive, seemingly awkward Mariandl was especially strong; she also won audiences over with her brightly colored, dramatically weighted, assured, powerful mezzo-soprano in a nuanced approach, and, as a handmaid with the nimble vocal caricatures of a crow, charmed to the point of laughter.
Opernnetz, Renate Freyeisen, 8/11/2014
The most compelling performances of the evening were offered by the three Rhine daughters Mirella Hagen, Julia Rutigliano and Okka van der Damerau, with rich contrasts to their acting and wonderful harmony in their singing.
NMZ, Peter P. Pachl, 02/08/2014
Her timbre matches well with the darker shades of Julia Rutligliano’s singing (as Bragäne), the two blending their respective vocal parts with ease.
L’Ape musicale, Valentina Anzani, 16/03/2014
Julia Rutigliano brings great care to her interpretation of the maid Bragäne -- her clear, bright voice contrasting with Isolde’s voice in a beautiful pairing.
operaworld, Mirko Bertolini, 12/03/2014
Vocally speaking, Julia Rutigliano’s maid is tremendously captivating to the ears.
La Nazione, Michele Manzotti, 05/03/2014
Julia Rutigliano, in the role of Bragäne, also stood out.
firenzepost.it, Roberta Manetti, 05/03/2014
In the role of Isolde’s maid, Julia Rutigliano’s voice reflects perfectly the style imposed by the conductor (Mehta). […] If Mehta were to sing instead of conduct, he would do so in Julia Rutigliano’s voice.
La Repubblica, Gregorio Moppi, 01/03/2014
Julia Rutigliano’s interpretation of Charlotte is so sophisticated, masterful and well versed in the prosody that she could perform the role on every major stage.
Thüringische Landeszeitung, Wolfgang Hirsch, 20/01/14
Musically, the (third) evening was fantastic. Fresh voices and a Staatskapelle performing under Martin Hoff sweep along audience members who may not follow the direction in every scene. Artem Korotkov sings the title role with a mellifluous, agile voice. Julia Rutigliano gives Charlotte a rich depth, the perfect contrast to Elisabeth Wimmer's clear soprano tones as Sophie.
Julia Rutigliano is an outstanding Venus, with rich, dramatic vocals and incredible acting skills.
|G. Bizet||Carmen||Carmen (french, german)|
|B. Britten||A Midsummer Night's Dream||Hermia|
|G. Donizetti||La Favorite||Léonor (french)|
|Z. Fibich||Sarka||Vlasta (german)|
|D. Glanert||Scherz, Satire, Ironie||Liddy|
|C. W. Gluck||Orpheus and Eurydice||Orpheus (german)|
|F. Lehár||The Merry Widow||Valencienne|
|P. Mascagni||Cavalleria Rusticana||Lola|
|W. A. Mozart||The Magic Flute||2nd Lady|
|J. Offenbach||La belle Hélène||Hélène (german)|
|S. Prokofiev||The Love for Three Oranges||Linetta (german)|
|The Love for Three Oranges||Clarisse (german)|
|G. Puccini||Madama Butterfly||Suzuky|
|D. Shostakovich||Lady Macbeth of the Mtsensk District||Aksinja|
|J. Strauss||Die Fledermaus||Orlofsky|
|R. Strauss||Der Rosenkavalier||Octavian|
|P. I. Tchaikovsky||Eugen Onegin||Olga|
|V. Ullmann||Der Kaiser von Atlantis||Trommier|
|G. Verdi||La Traviata||Flora|
|R. Wagner||The Flying Dutchman||Mary|
|Tristan und Isolde||Brangäne|
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|J.S. Bach||Matthäus Passion BWV 244|
|Magnificat BWV 243|
|L. v. Beethoven||Sinfonie Nr. 9 d-Moll op. 125|
|L. Berio||Folk Songs|
|H. Berlioz||Les nuit d'été|
|A. Bruckner||Te deum|
|A. Dvorák||Stabat Mater op. 58|
|F. Martin||In terra pax|
|G. Mahler||Sinfonie Nr. 2|
|Sinfonie Nr. 3|
|F. Mendelssohn||Elias op. 70|
|Lobgesang op. 52|
|X. Montsalvatge||Cinco canciónes negras|
|W. A. Mozart||Krönungsmesse C-Dur KV 317|
|Requiem d-Moll KV 626|
|M. Palmeri||Misa a Buenos Aires|
|C. Saint-Saëns||Oratorio de Noël|
|R. Strauss||Lieder (u.a. Allerseelen, Die Georgine, Wie sollten wir geheim sie halte, Cäcilie, Zuneigung|
|L. Spohr||Die letzten Dinge|
|G. Verdi||Messa da Requiem|
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