RosaFeola

Press

• Le Nozze di Figaro

  Washington National Opera

  Nov 2025

  • Feola was the absolute star of the night. Her performance as the countess entranced the crowd and every scene she was in became her own. Her voice manifested as an ethereal cloud that floated her out of her body, while at the same time forging deep forest roots that grounded her rich, vibrant tone.

    • The Washington Reporter
    • 18 November 2025

  • Outstanding soprano Rosa Feola, who made a radiant company debut two years ago as Juliette, returned as a ravishing Countess. Her limpid voice, poised and beautiful across its wide range, brought both aristocratic dignity and amorous passion to the role, giving tragic depth to both of her major arias. Her stage presence proved no less appealing, for example, in the sparkling Act II trio “Susanna, or via, sortite,” as she pulled a stocking over her long leg while ascending to a shimmering high note.

    • Washington Classical Review
    • 15 November 2025

  • Feola was the absolute star of the night. Her impeccable performance as the countess left me utterly speechless on multiple occasions with full-body chills. Her voice manifested as an ethereal cloud that floated her out of her body, while at the same time forging deep forest roots that grounded her rich, reverberating tone. She also exhibited stunning breath control as her vocals never wavered despite often projecting from odd or unideal positions, such as lying curled up on her side while emanating intense sorrow or bending to her toes from a seated position to put on stockings.

    • DC Theatre Arts
    • 17 November 2025

• Le Nozze di Figaro

  Metropolitan Opera

  May 2025

  • Her performance grew all evening in vocal and comedic strength. Everything seemed directed toward the Act IV aria, “Deh vieni non tardar,” which was the finest vocal moment of the night. Feola’s voice is gorgeous, full, and easy, and the moment was deeply moving.

    • New York Classical Review
    • 04 May 2025

  • Rosa Feola’s warm, legato singing filled out the ensembles beautifully...she nailed “Deh vieni non tardar,” an aria well-suited to her phrasing

    • Parterre box
    • 08 May 2025

  • The newlywed servants featured a far happier pairing, with the familiar Figaro of Luca Pisaroni delighting in his new Susanna—fellow Italian Rosa Feola, whose warmly mercurial portrayal betrayed no trace of soubrette brittleness. Her teasingly seductive “Deh vieni non tardar” proved the evening’s highlight and was greeted by the audience’s biggest ovation.

    • Observer
    • 06 June 2025

• Rigoletto (Verdi)

  Opera Bastille

  Dec 2024

  • Ottimo debutto per la Feola, che conosce bene la parte e ha conquistato il pubblico con il suo lirismo e virtuosismo, superlativa soprattutto nel secondo atto, e ha mostrato anche la sua grazia come ballerina. [translated] An excellent debut for Feola, who knows the part well and won over the audience with her lyricism and virtuosity, especially superlative in the second act, and also showed her grace as a dancer.

    • Musicultura
    • 16 December 2024

  • Face à lui la divine Gilda de Rosa Feola est idéale avec une incarnation toute en fragilité et innocence. La soprano italienne nous ravit avec des nuances finement dosées. [translated] Rosa Feola's divine Gilda is ideal with an incarnation full of fragility and innocence. The Italian soprano delights us with finely measured nuances.

    • Clasique News
    • 17 December 2024

• Roméo et Juliette (Gounod)

  Washington National Opera

  Nov 2023

  • She displayed extraordinary scope, with her soprano plush and limpid across the dynamic range and from high to low. She transformed from a bratty coquette, with outstanding high Cs and D in the Act I Ariette (“Je veux vivre”), into a tragic soliloquist in “Dieu! quel frisson” in Act IV. Her radiant pianissimi impressed as much as her bolder, louder exploits.

    • Classical Review
    • 05 November 2023

  • Rosa Feola, hailed last year for her Gilda at the Met, brought a level of vocal refinement and elegance to Juliet that substantially elevated the night’s proceedings. Her precise, iridescent soprano soared in Act I’s “Je Veux Vivre,” Feola handling Juliet’s coloratura passages with easy confidence and capping the aria with a blazing and generous final high note. Delicate dynamic effects and vivid attention to the French contributed to a captivating vocal performance throughout.

    • Alex Baker, Parterre Box
    • 07 November 2023

• La traviata (Verdi)

  Teatro La Fenice

  Sep 2023

  • Rosa Feola is Violetta with a fascinating voice and great stage presence; her singing line is crystal clear, the phrasing is very chiseled and the adherence to the character through the director's dictation is almost total.

    • Alessandro Cammarano, Le Salon Musical
    • 17 September 2023

  • Vocally, however, this production can count on a top-notch trio of leads, starting with Rosa Feola's Violetta Valéry, who offers a highly convincing incarnation. The dramatic breadth of the voice, the frivolous agility of the ornaments, the slightly tight vibrato and, above all, the clearly asserted intentions allow us to hear all the contrasting facets of the character, right up to the final outburst.

    • Nicolas Mathieu, Première Loge
    • 13 September 2023

  • Rosa Feola in the part of Violetta Valéry: the performance flows smoothly, and only when it is over does one fully realize how privileged it is to find oneself with a protagonist so orthodox in the singing line, so finely attentive to weighing the word, so simple and yet effective in delivery, so far from the charms and excesses of the other side of the Alps.

    • Francesco Lora, L'Ape musicale
    • 20 October 2023

• Turandot (Puccini)

  Opernhaus Zürich

  Jun 2023 - Jul 2023

  • Feola received great applause as Liú, the role that always comes out triumphant in this work. And she deserved it because both in 'Signore, ascolta' and in the entire scene of her death (she was the one who had the great final intervention of the work) she was magnificent, without falling into melodramatic attitudes, always perfectly measuring the tempo, moving in every syllable.

    • Javier del Olivo, Platea Magazine
    • 22 June 2023

  • Rosa Feola, also a favorite of the Zurich audience, has proven to be a wonderful ideal choice in the role of Liu. With a confident voice in all areas and a moving stage presence, one could experience the suffering of this servant who was in love with Calaf.

    • Marco Stücklin, Das Opernmagazin
    • 24 June 2023

  • Puccini wrote two exceptionally beautiful and moving arias for Liù, “Signor ascolta” and “Tu che di gel sei cinta,” which Rosa Feola sang with luminous tone and an exceptional emotional connection.

    • Rick Perdian, Classical Voice North America
    • 05 July 2023

  • Rosa Feola embodies the young slave to perfection. The voice is beautiful, the high notes are perfectly pitched pianissimo, the emotion is on edge.

    • Altamusica
    • 02 July 2023

• Opera Rara - Donizetti Song Project

  Wigmore Hall

  Nov 2024

  • Rosa Feola, con il suo bel timbro, ha cantato con misura ed estrema naturalezza, potendo contare su un'emissione sana, un suono sempre bello, morbido e curato e una linea de canto dove il testo rimane sempre comprehensible e dove smorzature, filati, trilli e abbellimenti viaggiano sul fiato senze forzature sopra le righe...il canto di Feola coglie nostalgia, speranza ma anche il dubbio logorante di un tradimento. [Translated] Rosa Feola, with her beautiful timbre, sang with measure and extreme naturalness, being able to count on healthy emission, a sound that was always beautiful, soft and careful and a singing line where the text always remained comprehensible and where damping, trills and embellishments travel on the breath without over-the top forcing...Feola's singing captures nostalgia, hope but also the debilitating doubt of a betrayal.

    • Connessi all'Opera
    • 05 November 2024

• Rigoletto (Verdi)

  Opera Bastille

  Dec 2024

  • Feola showed an incredible understanding of her character from the moment she came out on stage. She was innocent as she twirled like a ballerina throughout the duet and delivered a smooth and silky legato line with a wide-ranging color palette. Then she showed her angst and passion in “E l’alma in estasi gli dice: t’amo.”... she sang with tenderness and delicacy, never losing the gleaming tone. Feola was undoubtedly the highlight of the night.

    • Operawire
    • 14 December 2024

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