Valitse sivu




Formidable young mezzo-soprano Gaia Petrone is a graduate of the prestigious Accademia 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, Toulouse as Ursule in Berlioz Béatrice et Bénédict , Emilia in Rossini Otello for the Teatro di San Carlo in Naples and Ramise in the revival ofMax Emanuel Cenčić’s acclaimed 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.

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 II Festivalatilla; and Lisetta Il mondo della luna in the Teatro Bonci, Cesena. She also performed the role of Tancredi in Scarlatti’s Erminia Tancredi Polidoro e Pastore with the 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 the Gruppo d’Archi Veneto, and with the 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 di 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 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 and Emilia in Rossini’s Otello at Theater an der Wien, Angelina/ Cenerentola for Europaincanto in Teatro Argentina di Roma and Teatro San Carlo di Napoli and Ursule in Berlioz’s Béatrice et Bénédict at Théâtre du Capitole in Toulouse.
Recent engagements include a return to Rossini’s Otello in Teatro San Carlo di Napoli (conductor Gabriele Ferro, director Amos Gitai), Abra in Vivaldi’s Juditha Triumphans with The King’s Consort in tour in Theater an der Wien, Concertgebouw and Opéra royale de Versailles and Ramise in Handel’s Arminio with Armonia Atenea and Max Emanuel Cencic as director for the Handel Festspiele in Karlsruhe.

Future engagements include the roles of Proserpina/Ninfa in Monteverdi’s Orfeo at Teatro Ponchielli of Cremona with Accademia Bizantina and Ottavio Dantone as conductor and Maddalena in Rossini’s Il viaggio a Reims at Teatro dell’Opera di Roma. Gaia will return to Festival di Martina Franca in Meyerbeer’s Margherita d’Anjou under the beaton of M° Fabio Luisi.




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
+358 20 7959 110
+358 40 0806 869

Pekka Rantio
+358 20 7959 111
+358 40 7505 425