Lucrezia Drei, Soprano
Lucrezia Drei

Lucrezia Drei

Soprano
Bio: The italian soprano is highly appreciated for her Mozart’s and belcanto roles beacause of her crisp musicality, personality on the stage and good taste in phrasing. As a very young soloist of La Scala Academy, she had the chance to take part to many operas and concerts with the greatest world’s musicians (Pelléas et Melisande w. G. Prêtre, Tosca w. L Maazel, then R. Muti, Z. Mehta, G. Dudamel). She performed her first role In La Scala at only 13 years old in Janaček’s The Cunning Little Vixen conducted by Sir A. Davis. She graduated in Flute and Operatic Singing, and majored in Languages and Foreign Literatures at the University of Milan, with a Master in Music and Neurosciences. Very young, she sung Flora in Britten’s The Turn of the Screw for AsLiCo and La Fata Azzurra in Respighi’s La Bella Dormente at the Rimsky-Korsakov Theatre in Saint Petersburg. She won several international opera and sacred music competitions and began her international carrier playing Susanna in Le Nozze di Figaro and Norina in Don Pasquale. She has been warmly appreciated in several opera houses in Italy and all over the world for her passionate and impressive interpretation of roles such as Gilda in Rigoletto, Corinna in Il Viaggio a Reims at Rossini Opera Festival and Verona Opera House, Oscar in Un Ballo in Maschera in Rome, Nannetta in Falstaff with Joan Pons in Mallorca, Pamina in Die Zauberflöte in Trieste, Blonde in Die Entführung at Savonlinna Opera Festival, Valencienne in Die Lustige Witwe in Verona, Erste Dame in Die Zauberflöte under Graham Vick’s direction at Macerata Opera Festival and Muscat ROH, Fanny in La cambiale di matrimonio in Novara, Adina in L’elisir d’amore in Tokyo, Palermo, Toulon and Turin Opera House, Fiordiligi in Così fan tutte in Cartagena Festival Colombia, Zerlina in Don Giovanni in Venice, Musetta in La Bohème in Marseille, Modena and Piacenza.
...More
Bio: The italian soprano is highly appreciated for her Mozart’s and belcanto roles beacause of her crisp musicality, personality on the stage and good taste in phrasing. As a very young soloist of La Scala Academy, she had the chance to take part to many operas and concerts with the greatest world’s musicians (Pelléas et Melisande w. G. Prêtre, Tosca w. L Maazel, then R. Muti, Z. Mehta, G. Dudamel). She performed her first role In La Scala at only 13 years old in Janaček’s The Cunning Little Vixen conducted by Sir A. Davis. She graduated in Flute and Operatic Singing, and majored in Languages and Foreign Literatures at the University of Milan, with a Master in Music and Neurosciences. Very young, she sung Flora in Britten’s The Turn of the Screw for AsLiCo and La Fata Azzurra in Respighi’s La Bella Dormente at the Rimsky-Korsakov Theatre in Saint Petersburg. She won several international opera and sacred music competitions and began her international carrier playing Susanna in Le Nozze di Figaro and Norina in Don Pasquale. She has been warmly appreciated in several opera houses in Italy and all over the world for her passionate and impressive interpretation of roles such as Gilda in Rigoletto, Corinna in Il Viaggio a Reims at Rossini Opera Festival and Verona Opera House, Oscar in Un Ballo in Maschera in Rome, Nannetta in Falstaff with Joan Pons in Mallorca, Pamina in Die Zauberflöte in Trieste, Blonde in Die Entführung at Savonlinna Opera Festival, Valencienne in Die Lustige Witwe in Verona, Erste Dame in Die Zauberflöte under Graham Vick’s direction at Macerata Opera Festival and Muscat ROH, Fanny in La cambiale di matrimonio in Novara, Adina in L’elisir d’amore in Tokyo, Palermo, Toulon and Turin Opera House, Fiordiligi in Così fan tutte in Cartagena Festival Colombia, Zerlina in Don Giovanni in Venice, Musetta in La Bohème in Marseille, Modena and Piacenza.
...More

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Repertoire

Composer & WorkRoleProductions
Donizetti
Don PasqualeNorina
L'elisir d'amoreAdina3
Gounod
FaustMarguerite1
Lehár
Die lustige WitweValencienne1

Biography

Lucrezia Drei
Lucrezia Drei
Soprano
Full name: Lucrezia Drei
Citizenship: Italy

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Reviews

“Sostenuta da una tecnica ragguardevole che le permette di volteggiare nella parte, dispensando sovracuti a piene mani”
ANDREA DELLABIANCA

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