Valitse sivu




Formidable young mezzo-soprano Gaia Petrone is a graduate of the prestigious Conservatorio di Santa Cecilia in Rome and the Royal Conservatory in The Hague. A first prize recipient at the Seventh International F. Provenzale Early Music Singing Competition and the Twelfth International Valerio Gentile Opera Competition, she is fast making a name for herself on both the operatic stage and the concert platform.

Petrone’s 2016/17 season highlights include her house debuts with Théâtre du Capitole of Toulouse as Ursule in Berlioz Béatrice et Bénédict , Emilia in Rossini’s Otello at Teatro di San Carlo in Naples (direction of Amos Gitai) and Ramise in the revival of Max Emanuel Cenčić’s production of Arminio in Karlsruhe. She also returns to Sweden for concert performances of Cenerentola with Smålands Musik & Teater and tours with King’s Consort Vivaldi’s Juditha Triumphans. Gaia returns to Festival della Valle d’Itria 2107as Isaura in Meyerbeer’s Margherita d’Anjou under the baton of Fabio Luisi and with Alessandro Talevi as director,achieving an extraordinary success: “Mezzo Gaia Petrone as Isaura was arguably the best on stage: she could sing touchingly and highlight the naive side of the character, and was impressive in the final rondò” (The Opera Critic).

Her professional career began when, while still a student, she performed the roles of Apollonia La Canterina at the Festival dell’Intermezzo e dell’Opera buffa; Dorina in Latilla’s La finta cameriera at 2nd Festivalatilla and Lisetta in Haydn’s Il mondo della luna in Teatro Bonci, Cesena. She also performed the role of Tancredi in Scarlatti’s Erminia Tancredi Polidoro e Pastore with Ensemble Concerto de’ Cavalieri at the Centro di Musica Antica Pietà de’ Turchini, and created the roles of Pitura and Alinda in the world premiere of Cavalli-Stradella’s Il novello Giasone at the Valle d’Itria Festival 2011.

In concert, she has performed Vivaldi’s Gloria with Gruppo d’Archi Veneto, and with Wiener Kammersymphonie at Vienna’s Musikverein; Handel Dixit Dominus; Vivaldi Magnificat; Bach Mass in B Minor under the baton of Marco Berrini; and Schutz Musikalische Exequien conducted by Peter Neumann. She has also appeared in concert at the Teatro Sociale de Rovigo, and the Teatro Comunale de Vicenza with the Regionale Filarmonia Veneta, under the baton of Stefano Romani. Her discography includes a live recording of Haydn Il mondo della luna, released on Bongiovanni Records, and Czerny’s transcription of Mozart’s Requiem on Naxos. In 2015 she made her UK debut in Handel’s Messiah with Royal Liverpool Philharmonic Orchestra under the baton of Nathalie Stutzmann. In 2012, Gaia Petrone joined the young ensemble of Theater an der Wien and performed to great acclaim such roles as Clarina La cambiale di matrimonio, Medoro Orlando, Sibari Semiramide riconosciuta and Sesto La Clemenza di Tito. In the winter of 2013/14 she made a star turning debut in the title role of Cenerentola: “The vocal highlight of the evening was Gaia Petrone. She sang an almost flawless Angelina, with nimble coloratura and a beautiful controlled, supple mezzo voice” (Die Presse). Shortly after this success she made her US debut as Rosina Il Barbiere di Siviglia at Palm Beach Opera and appeared as Pisana in the Theater an der Wien production of I due Foscani with Placido Domingo and James Conlon. Other relevant engagements include Ippolita in Cavalli’s Elena for Aix-en-Provence Festival tour, a return to La Cenerentola at Gothenburg Opera, Damigella in L’incoronazione di Poppea, Emilia in Rossini’s Otello at Theater an der Wien (direction of Damiano Michieletto) Proserpina and Ninfa in Monteverdi’s Orfeo under the baton of Ottavio Dantone and with Accademia Bizanitna orchestra at Teatro Ponchielli di Cremona, Maddalena in Rossini’s Il viaggio a Reims at Teatro dell’Opera di Roma (direction of Damiano Michieletto), Isaura in Meyerbeer’s Margherita d’Anjou under the baton of Fabio Luisi, Cherubino in Mozart’s Le nozze di Figaro at Teatro Lirico di Cagliari, Megacle in Leo’s L’Olimpiade at Teatro San Carlo di Napoli, un Musico in Puccini’s Manon Lescaut in tour with Teatro dell’Opera di Roma in Japan and under the baton of Donato Renzetti, La Madre in Alessandro Stradella’s San Giovanni Battista with touring with Le Banquet Céleste in France.

Next engagements include: Eduige in Handel’s Rodelinda at Teatro Municipal de Santiago (Chile) and Cleone in Rossini’s Ermione at Teatro San Carlo di Napoli.




Rosina sung by Gaia Petrone is also excellent, a dark mezzo-soprano that has typified the character in an almost masculine sense, pruning it from the inappropriate mannerisms of many interpretations of the past. The strength of this young singer is her coloratura, always well grainy and stylistically adequate, as well as the color of the central tessitura, intense and vibrant”
— GB Opera Magazine

“The stand-out vocal contribution of the evening, though, came from the Aurora of mezzo Gaia Petrone. Like the contralto Sonia Prina, who has impressed hugely in the past, Petrone has the ability to make us forget the intervening years between the composition and the now; emotions are as real and present as they would be in a person today (..)
— Seen and Heard International

Mezzosoprano Gaia Petrone was outstanding: it can be said, maybe, that her recourse to canto di portamento and her use of vibrato (more congeniali to other repertoires) were partialy out of style. But the fact is that every single word became perfectly intelligibile and the character of Caino assumed, thanks to her, a strong dramatic importance: envy and annoyance for a too perfect brother push her/him to fratricide. ”
— Il Ponte

“Mezzo Gaia Petrone as Isaura was arguably the best on stage: she could sing touchingly and highlight the naive side of the character, and was impressive in the final rondò ‘Oh ciel, qual mai contrasto’ followed by her final aria.”

Even more surprising Gaia Petrone, impeccable to articulate the diabolic and tiny figurations of her final Rondó, but even more adorable in the quivering psychological progress of Isaura’s character, and admirable for homogeneity of her registri, from her squillo di testa to her affondo di petto: this is what we hoped for her when she was at Wiener Kammeroper, and we yet could recognize her excellent means and artistic intelligence. ”
— L’Ape Musicale

“Both in this house and in the larger scale Theater an der Wien productions, Gaia Petrone has left a strong impression through her stage presence and intense acting, as well as through her luscious, well-produced mezzo. As anticipated, Angelina is an ideal choice for the young Italian, lying comfortably in dynamics and range, and with Petrone demonstrating bel canto agility and finesse to compete with so-called leading specialists in the field – in addition to a generous measure of charm.”
— The Opera Critic, December 2013


Pete Vuorio
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+358 40 0806 869

Pekka Rantio
+358 20 7959 111
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