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BIOGRAPHY |
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Recently, the German-Italian artist succeeded as VENUS at the Schwerin State Theatre, as CARMEN at the Rostock Theatre, as AMNERIS in “Aida” at the Felsenreitschule Salzburg and at the Pforzheim Theatre. She is a regular guest at the Heidenheim Festival.
In 2027 she makes her debut at the Helsinki National Opera.
International guest performances brought her as SIEGRUNE to the Maggio Musicale Fiorentino, the Palau de les Arts in Valencia, the Teatro San Carlo di Napoli, to the Berlin State Opera, the Semperoper Dresden, the Opera Bastille Paris, the Beijing Opera, just to name a few.
In 2013 she debuted as "WELLGUNDE in” Rheingold” and “Götterdämmerung” at the Bayreuth Festival (Kiril Petrenko/Frank Castorf) and was re-engaged her for 2014 and 2015.
She performed at the Concertgebouw in Amsterdam, the Elbphilharmonie Hamburg, the Dortmund Concert House, the Baden-Baden Festival and at the Salzburg Eastern Festival.
While still studying at the Munich 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 and Benedikt” and DONNA ELVIRA in Mozart's “Don Giovanni”.
Performances at the theatres of Nuremberg, Braunschweig, Cottbus and at the Weimar National Theatre followed. Her roles here included a.o. CHARLOTTE in “Werther”, OCTAVIAN in "Rosenkavalier", Donizetti’s LA FAVORITE, GERTRUD in”Hänsel and Gretel”, ORLOFSKY in “Die Fledermaus”, AKSINJA in “Lady Macbeth of Mzensk” and CARMEN.
As Carmen she also enthused in 2012 in Volker Schlöndorff production at the Berlin Lake Festival and at the Warsaw National Opera (2019). At the Athens National Opera, she portrayed the title part in the world premiere of Georges Dousis‘ opera “Hedda Gabler”.
In she could be seen a.o. in Florentina Holzinger’s Performance Étude for an Emergency at the Munich Chamber Opera, in 2022 in Frank Schwemmer world premiere of “Der Atlantis - Code” at the Luxembourg Philharmonic, in Mendelssohn’s PRAISE at the Teatro Petruzzelli, in “Der Kaiser von Atlantis” at the Teatro Massimo Palermo.
Julia Rutigliano sings with such renowned conductors like Christian Thielemann, Valery Gergiev, Marek Janowski, Jaap van Zweden, Philipp Jordan, Zubin Mehta ....
and is also a very much sought-after concert singer. Performances include Verdi’s Requiem with the Bavarian State Orchestra, Mahler's 2nd SYMPHONY und Mozart’s Coronation Mass with the Israeli Philharmonic Orchestra, Beethoven’s 9th symphony at the Maggio Musicale in Florenz, Bruckner’s Te Deum with the Symphony Orchestra of the Bavarian Radio. and Mozart’s Coronation Mass.
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| REVIEWS |
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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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