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BIOGRAPHY |
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The German-Italian mezzo soprano is a regular guest at international opera houses. She was SIEGRUNE in “Die Walküre and BRANGÄNE in “TRistan und Isolde at the Maggio Musicale Fiorentino under the musical direction of Zubin Mehta. With the Maestro she equally sang SIEGRUNE at the Palau de les Arts in Valencia.
In 2013 she made her debut as WELLGUNDE in “Das Rheingold” and “Götterdämmerung” at the Bayreuth Festival (Kiril Petrenko/Frank Castorf) and was re-engaged in 2014 and 2015.
She made her house debut as SIEGRUNE under the musical direction of Christian Thielemann at the Semperoper Dresden in 2016, under the musical direction Daniel Barenboim at the Berlin State Opera and in concert at the Concertgebouw in Amsterdam with Valery Gergiev. In 2017 she could be heard in WELLGUNDE at the Elbphilharmonie Hamburg under the direction of Marek Janowski, at the Dortmund Concert House and at the Festspielhaus Baden-Baden. Besides, in 2017 a coproduction of the Salzburg Easter Festival brought her as GRIMGERDE in “Die Walküre” under Jaap van Zweden to Beijing. In winter 2021 she sang SIEGRUNE under the direction of Philippe Jordan at the Opéra Bastille Paris , which was broadcast on radio.
While still studying at the Music and Theatre Academy and at the Bavarian Theatre Academy in Munich, she sang the VIXEN in Janáček’ s “The Cunning Little Vixen” , HELENA in Offenbach’s “Die schöne Helena”, BEATRICE in Berlioz’ “Beatrice et Benedict” and DONNA ELVIRA in Mozart's “Don Giovanni”.
Engagements at the Nuremberg, Braunschweig and Cottbus State Theatres and at the Weimar National Theatre followed. Roles included here a.o. CHARLOTTE in “Werther”, OCTAVIAN in “Der Rosenkavalier”, Donezetti’s LA FAVORITE, GERTRUD in “Hänsel und Gretel”, ORLOFSKY in “Die Fledermaus”, AKSINJA in “Lady Macbeth von Mzensk” and CARMEN.
As Carmen she also succeeded in 2012 in a Volker Schlöndorff production at the Berlin Lake Festival and at the Warsaw National Opera (2019). At the Athens National Opera she portrayed in 2019 the title part in the world premiere of Georges Dousis‘ opera “Hedda Gabler”.
In 2020 she performed in Florentina Holzinger’s “Performance Étude for an Emergency” at the Munich Chamber Festival. In 2022 she succeeded in Frank Schwemmer’s world premiere “Der Atlantis - Code” at the Luxembourg Philharmonic and with Mendelssohn’s LOBGESANG at the Teatro Petruzzelli.
Julia Rutigliano is also a much sought-after concert singer and sang a.o Verdi’s Requiem with the Bavarian State Orchestra, Mahler's 2nd Symphony and Mozart’s Coronation Mass with the Israel Philharmonic Orchestra ( Zubin Mehta), Beethoven’s 9th Symphony at the Maggio Musicale in Firenze, Bruckner’s Te Deum with the Bavarian Radio Symphony Orchestra and in 2018 mit Mozart’s Coronation Mass.
In the season 2022/23 she performs in “Der Kaiser von Atlantis” at the Teatro Massimo Palermo, returns as SIEGRUNE in “Die Walküre” to the Semperoper Dresden and also sings this very role at the Teatro San Carlo di Napoli.
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| KRITIKEN |
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| Staatstheater Schwerin – Tannhäuser - VENUS |
| The mezzo soprano Julia Rutigliano managed to jump in on short notice. Although she only had had only a short rehearsal period, it was wonderful to see how she unswervingly interpreted the huge role of Venus with her powerful soprano voice. She sang with the same great text comprehensibility as all the other singers. |
| OPERNGLAS 11/2022, G. Helbig |
| Deutsches Nationaltheater Weimar – Der Rosenkavalier - OCTAVIAN |
| With her clear, soft, nuanced soprano voice Julia Rutigliano convinces as actingly experienced Octavian. Her interpretation of the 17-years-old romantic, which she beautifully portrays as a post post-pubescent rebel, is equally credible. |
Opernnetz
www.opernnetz.de |
| Bayreuther Festspiele – Götterdämmerung – WELLGUNDE |
| The most convincing portrayal of the evening was the performance of the three Rhine daughters Mirella Hagen, Julia Rutigliano and Okka van der Damerau, rich in contrast in their portrayal and homogenous in its harmony. |
NMZ
www.nmz.de |
| Deutsches Nationaltheater Weimar – Werther - CHARLOTTE |
| Just like Charlotte, who isn’t able to escape from the world, Julia Rutigliano only leaves the stage at the end. Such a concept entirely depends on the singer. In Weimar, the concept is simply excellent, because vocally and theatrically Rutigliano is so accurate and precise, all the others next to her seem to fade to grey , in spite of their vocal brilliance. |
Ostthüringer Zeitung
www.otz.de |
| Julia Rutigliano’s interpretation of Charlotte is so mature, sovereign and prosody-experienced, she is surely able to perform this role also on major stages. |
Thüringische Landeszeitung
www.tlz.de |
| Maggio Musicale Firenze – Tristan und Isolde - BRANGÄNE |
| Also Julia Rutigliano’s Brangäne was considerable. |
Firenze Post
www.firenzepost.it |
| His timbre perfectly harmonizes with Julia Rutigliano’s (Brangäne) dark timbre and they both effortlessly combine their singing parts. |
L'ape musicale
www.apemusicale.it |
| Theater Bremen – Tannhäuser - VENUS |
| Julia Rutigliano is an excellent Venus with vibrating vocal drama and considerable acting skills. |
| Opernwelt |
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| SZENENFOTOS |
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| Warsaw Opera – Carmen - CARMEN |
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| Bayreuther Festspiele – Rheingold - WELLGUNDE |
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| Nationaltheater Weimar - La Favorite - LEONORE |
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Nationaltheater Weimar - La Favorite - LEONORE
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Nationaltheater Weimar - Werther - CHARLOTTE
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