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Home Singers Eleonora Contucci

Eleonora Contucci



Eleonora Contucci, when still a child, sang in the world premiere of Hans Werner Henze’s Pollicino. This was staged for the Cantiere Internazionale d’Arte in Montepulciano, where in the years she experienced a wide range of performing arts and various artistic media, from dance-theatre to acting and mime, and worked alongside such personalities as Marcel Marceau and Willy Decker. She took part in numerous productions at the Cantiere, including the Italian premiere of Maxwell-Davies’ Cinderella. Having begun her voice studies with Maria Vittoria Romano, she went on to graduate cum laude from the Conservatorio in Latina, where her teacher was Nicoletta Panni. She was chosen to participate in prestigious masterclasses with Alfredo Kraus, Renata Scotto, Julia Hamari, Regina Resnik and a specialist class in baroque voice music with Hervé Niquet.

She began her operatic career concentrating principally on the eighteenth century (La serva padrona, Livietta e Tracollo e Lo frate 'nnammorato di Pergolesi, Arlecchinata di Salieri) and the contemporary repertoire: she has sung the lead role in the Fata fatata by Bossero at the Cantiere di Montepulciano in 1993; the role of Mother in Pollicino staged at the Cantiere in 1995; and she made her debut at the Teatro Comunale, Florence, as Costanza in L’isola disabitata by Haydn. She returned to the Comunale in The Little Sweep by Britten and in The Story of the Tzar Saltan by Rimskij-Korsakov and she appeared with the Orchestra della Toscana in Pepito by Offenbach. She went on to sing Mimì in Puccini’s Bohème, the Italian premiere of Wozzeck by Manfred Gurlitt at the Maggio Musicale in Florence, Cio-Cio-San in Madame Butterfly at the Cape Town Opera, Lauretta in Gianni Schicchi, The Magic Flute staged by As.Li.Co and Colombina in Mascagni’s Le Maschere. Then she sang Melissa in Handel’s Amadigi conducted by Rinaldo Alessandrini at the San Carlo Opera in Naples, in Rome for Accademia Filarmonica Romana and at the Baroque Festival of Beaune, Costanza in the world premiere of Così fan (quasi) tutte by Carlo Pedini at the Operaincanto Festival, Sesto in Caldara’s Clemenza di Tito at the Baroque Festival in Viterbo, Barbarina in Le nozze di Figaro in Florence conducted by Zubin Mehta, Parsifal at Carlo Felice Theatre in Genua, a new production of Monteverdi’s L’incoronazione di Poppea conducted by Rinaldo Alessandrini in Salamanca and at the Baroque Festival in Beaune, Donizetti’s La Favorite at Carlo Felice Theatre in Genua, Donna Anna in Mozart Don Giovanni at Festival Operaincanto and for the Foundation Cantiere di Montepulciano, the world premiere of Carlo Boccadoro’s opera RobinsonLa Bohème at Tuscia Opera Festival in Viterbo, L’elisir d’amore at Maggio Musicale Fiorentino conducted by Bruno Campanella, Monteverdi Orfeo at Teatro alla Scala conducted by Rinaldo Alessandrini and directed by Bob Wilson, Rousseau Le Devin du village in Rome.

Her more recent engagements include Puccini’s Gianni Schicchi at Teatro Regio in Parma, L’elisir d’amore at Teatro Comunale di Modena and Teatro Regio di Parma and Elektra at Teatro Comunale di Bologna and in Reggio Emilia.

Contucci also has a busy concert and chamber schedule and a repertoire that runs from baroque to contemporary music. She has performed with such conductors as Albrecht, Bolton, Mazzola, Stenz, and Tate. In 2001 she performed a cycle of chamber songs by Verdi which was broadcast live thoughout Europe by Radio Tre Rai for the Verdi centennial. Then she sang Schoenberg’s Brettllieder in Rome and Bach’s Magnificat at the Sagra Musicale Umbra, she made her debut with Capella Cracoviensis in Krakow, performed Brahms’ Liebeslieder and Neue Liebeslieder in important Italian venues and for Radio 3 Rai, Poulenc’s Gloria in Rome under Marcello Panni’s baton, Janácek’s Glagolitic Mass conducted by Jan Latham Koenig, Mozart’s Mass K. 427 at the Sagra Musicale Umbra and Requiem with the Orchestra di Padova e del Veneto conducted by Howard Shelley; she gave a concert with Rinaldo Alessandrini and Concerto Italiano in Rome, and several Liederabend, one of them with Malcolm Bilson at the fortepiano. Among her most recent engagements, Beethoven Ninth Symphony under Luigi Piovano’s baton, concerts at Festival der Stille in Switzerland, the World première of Ciro Pinzuti's Te Deum revised by German composer Detlev Glanert and Haydn’s Missa in tempore belli for the Cantiere in Montepulciano, Pergolesi’s Stabat Mater and other baroque music with the Swiss ensemble “i baroccoli”, a recital in Napoli for Associazione Scarlatti, the debut with German ensemble "Lautten Compagney" Berlin in a program of sacred music by Monteverdi and Handel.

Recently the Dutch label Brilliant Classics issued a new recording of the complete Lieder of Norbert Burgmüller with Costantino Mastroprimiano at the fortepiano and the first world recording of the complete Lieder of Hugo Staehle, again with Costantino Mastroprimiano at the fortepiano.



October 2016

L'incoronazione di Poppea

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Donna Anna, "Don Giovanni"

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Barbarina, "Le nozze di Figaro"

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Foto Eleonora Contucci