Elisabetta Farris

Elisabetta Farris

Lyric Soprano

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«“the dominating figure on the stage. Her beautiful dark voice is enhanced by a very refined technique. Mimì is a role that suits her musical features as well as her temperament perfectly”»
< WWW.ILCORRIEREMUSICALE.IT >. (2017)
«“con la sua straordinaria interpretazione di La voix humaine la Farris si è dimostrata attrice sensibile ed efficace, oltre che musicista esperta e mai sopra le righe [...]spaziando tra i diversi registri con facilità e curando la timbrica con precisione assoluta. Eccellente anche la sua pronuncia francese, che non le impedisce di mantenere la voce sempre avanti e perfettamente in maschera. [...] La Farris ha una presenza scenica veramente notevole: senza l’ausilio di sovratitoli o traduzioni il pubblico rimane incollato ad ogni suo movimento per quarantaVoci di donna - Vittorio Veneto 2014 minuti, arrivando a quei tre Je t’aime! finali, strazianti quanto liberatori.”»
(2017)
«"Elisabetta Farris ha raffigurato un’Elena pressoché completa: dolce e languida nei duetti nonché altisonante tragedienne (sì, qui bisogna esser proprio tale) negli esametri del drammatico racconto della presa di Troia, in cui ha sfoggiato considerevole volume e potenza vocale, dei gravi da far invidia a un mezzosoprano (bello e ben controllato il la naturale grave), e nel concertato successivo un do acuto enorme, tagliente e sicurissimo."»
< WWW.GBOPERA.IT > (2017)
2017Pergolesi: La Serva PadronaSerpina
2017Verdi: ErnaniGiovanna
2016Puccini: Suor AngelicaAngelica
2016Britten: The Little SweepRowan
2016Boito: MefistofeleMargherita
2016Boito: MefistofeleElena
2015Mozart: Don GiovanniDonna Elvira
2015Mozart: Cosi fan tutteFiordiligi
2014Poulenc: La voix humaineElle
2013Mozart: Die ZauberflötePamina
2013Verdi: Il TrovatoreLeonora
2013Verdi: AidaAida
2012Menotti: The TelephoneLucy
2012Puccini: La BohèmeMimì
2012Mozart: Le nozze di FigaroMarcellina
2012Leoncavallo: PagliacciNedda
2011Puccini: Madama ButterflyCio-Cio-San (Madama Butterfly)
2011Rota: I due timidiSignora Guidotti
2010Puccini: ToscaFloria Tosca
2009Donizetti: Lucia di LammermoorAlisa

Bio

ElisabettamFarris is a promising new talent of Italian opera. Despite her young age, she has already established herself as one of the most gifted sopranos in Italy. Her unique voice, together with her elegant and charismatic stage presence, has prompted praise for Ms Farris in all her recent appearances.                     
Critics acclaimed her recent performance as Mimì in Puccini’s La Bohème, characterising her as “the dominating figure on the stage. Her beautiful dark voice is enhanced by a very refined technique. Mimì is a role that suits her musical features as well as her temperament perfectly”  < www.ilcorrieremusicale.it >.
Thanks to her noteworthy acting skills and to her vocal flexibility, Elisabetta Farris has debuted in very different roles both in a musical sense (sweeping from Tosca by Puccini to The Telephone by Menotti), and in terms of acting (acting in roles such as La Signora Guidotti by Nino Rota and Cio Cio San by Puccini).Since her triumphant debut in 2005 in Antonio Calenda’s Opera Comique, Elisabetta Farris has continued to appear in leading roles in many of the best Italian and European Opera companies.
Just returned from the successful double debut as Sancta Susanna by Hindemit and Suor Angelica by Puccini nel quale la critica l’ha indicata come “l’autentica trionfatrice di quest’opera (Sancta Susanna), ed oserei dire dell’intera serata, è stato il giovane talento sardo Elisabetta Farris (già ammirata qui a Pisa nei panni di Elena nella recente produzione di Mefistofele). La crescita di questo soprano è esponenziale: affronta le difficili pagine del suo personaggio con una maturità espressionistica che raramente si vedono in interpreti di pari età. La Farris, sorretta da una vocalità ben salda , da acuti squillanti e da un’ espressività drammatica solitamente tipica di attrici ormai collaudate, vince la sfida di debuttare, nell’arco della stessa serata, due ruoli così impegnativi come Sancta Susanna e Suor Angelica prova ne siano i copiosi applausi al termine di entrambi gli allestimenti.” <Operateller.com>
The interpretation of Rowan in “The Little Sweep” by Britten was worth such amazing reviews as this one: “L’ars canora, d’altra parte, è più che sufficiente al soprano Elisabetta Farris a imporsi all’attenzione del pubblico fin dal suo ingresso in scena: la sua Rowan ha catalizzato l’attenzione dell’intero pubblico, tanto nei momenti solistici sia in quelli d’assieme. La sua grazia nell’esecuzione e il peculiare timbro vocale l’hanno resa de facto il personaggio più interessante della rappresentazione.” <Uninfonews.it>





She debuted as well the  role of Margherita  in Mefistofele. The Premiere was very well-received: "Elisabetta Farris was absolutely top-class as a soprano in this role singing with heartfelt expression and a very clear high register. The scene where Margherita realises she has murdered her two most loved beings during a raptus caused by the universe’s most evil agent for the devil himself, Mefistofele, must surely be one of the most harrowing moments in all opera! " <Opera> This is the link of the aria-  "L'altra notte in fondo al mare" :  https://youtu.be/OX9jrgVx864



She has even debuted Elena in Mefistofele at Pisa Opera where she won critical acclaim,  collecting stunning reviews as: “Elizabeth Farris doesn't sing Elena, she is . The young sardinian soprano effort the short but complex role of the Greek seductress supported by a remarkable vocal range and an excellent technique. The Farris has a scenic magnetism that is not learneable on school-books and that is usually the prerogative of a restricted group of singers who carry the title of champion” <OPERALIBERA.NET>



and "Elisabetta Farris ha raffigurato un'Elena pressoché completa: dolce e  languida nei duetti nonché altisonante tragedienne (sì, qui bisogna esser  proprio tale) negli esametri del drammatico racconto della presa di Troia,  in cui ha sfoggiato considerevole volume e potenza vocale, dei gravi da far  invidia a un mezzosoprano (bello e ben controllato il la naturale grave), e  nel concertato successivo un do acuto enorme, tagliente e sicurissimo." <GBOPERA.IT>

                                   
She even was  Donna Isabella in the Convitato di Pietra by Tritto at Pisa Opera,
"Elisabetta Farris, calata perfettamente nella parte di Donna Isabella, caratterizza la sua prova grazie a una voce dotata di uno charme timbrico e per dei filati davvero pregevoli."  < http://www.fermataspettacolo.it/lirica/il-convitato-di-pietra-di-giacomo-tritto>
"...Elisabetta Farris, Duchessa Isabella di gran temperamento, timbro squillante e accompagnata
da buona tecnica e da una notevole estensione che qui non ha potuto sfoggiare" < http://www.gbopera.it/2015/11/pisa-teatro-verdi-il-convitato-di-pietra >
Donna Elvira in the new production of Don Giovanni for Sassari Opera [Opera magazine described in thisway my performance:  "Bravissima Elisabetta Farris, soprano gifted of an outstanding voice and with no less remarkable temperament. Notable also her acting considering that Ms. Farris was perpetually engaged both vocally and phisically into a "dramma giocoso” seemed almost a competition between singing and acting qualities.” http://impiccioneviaggiatore.iteatridellest.com/2015/11/05/sassari-don-giovanni-w-a-mozart-30-ottobre-2015/ 
Last summer she debuted also Fiordiligi in the Mozart's "Così fan tutte" produced by the 29° Varese Ligure Opera Festival. 
She was also an amazing Elle in her stunning debut in “La Voix Humaine”.  The press described
her performance in this way: "…with her outstanding interpretation of La voix humaine,  Ms.Farris has proved to be a convincing and sensitive actress, as well as an expert musician [...] ranging between the different registers with aptitude and taking care of the sound with absolute precision. Excellent also her French pronunciation, which didn’t stop her perfect placement of the voice in the mask
[...] The Farris has a truly remarkable stage presence: without overtitles or translations the audience stays glued to each her movement for all the 40 minutes of the show till those three final “Je t'aime!” heartrendings as liberators. " <GBOPERA.IT>

In March 2013 she was an acclaimed Pamina in Mozart’s Die Zauberflöte at Teatro Giovanni Da Udine. In June 2013 she was an acclaimed Aida in Lindenfels: “Farris's voice is provided of charm d'antan: the use of the colors, the typical nuances of the role, the pianissimi and the dramatic emphasize that she gave to the German audience, make Farris as the star performer and the applauses received in mid - scene and the several Bravas that the audience have bestowed to her, confirm this success.”
<La Tribuna, 9 June 2013>                                                                                                   


She just got back from her South American debut with the Fundacion Prolirica de Antioquia in Medellin where she was an acclaimed Amelia (Ballo in Maschera) and Leonora (Trovatore).

In April 2012 she was an acclaimed Mimì in Puccini’s La Bohème at the Teatro Giuseppe Verdi in Trieste and, subsequently, she was Lucy in The Telephone by Gian Carlo Menotti at the Teatro Da Ponte in Vittorio Veneto, Nedda in Pagliacci and Marcellina in the Nozze di Figaro produced by Sassari Opera House:  "Secure the Marcellina of Elisabetta Farris that gifted by a voice genuinely buttery, carefully produced and  firmly under control that makes a good impression in the Mozart's difficult passages of her aria."  <Rivistamusica.com, November 2012>

For her
performance as Cio Cio San in Puccini’s Madama Butterfly in 2011 at the Teatro Sperimentale Adriano Belli in Spoleto she was defined as the "Sweetest Butterfly" by an important Italian Opera critic in the Italian leadeing newspaper Il Messaggero .

In 2011, at the Ente Concerti “Marilisa de Carolis” in Sassari, she was Signora Elvira Guidotti
in Nino Rota’s I due Timidi: “Farris’s interpretation sweeps from the famous actresses Bice Valori to Anna Magnani"
<Opera, December 2011>  Previously, she was Tosca in 2009 at the Slovenian National Theatre in Maribor and Serpina in La Serva Padrona by Giovanni Battista Pergolesi in 2010 at the Auditorium San Giuseppe in Vittorio Veneto. For her performance as Serpina, she obtained enthusiastic reviews: “Elisabetta Farris, young Sardinian Soprano, is a rising star of the Opera World! She has a refined voice, a perfect diction, and an excellent scenic presence: her eyes expressed and spurted comedy connected with the action too" <www.AILnotizie.it>. She was Susanna in Il Segreto di Susanna by
Ermanno Wolf-Ferrari (Teatro da Ponte Vittorio Veneto 2009) and Alisa in Lucia di Lammermoor by Gaetano Donizetti at the Ente Concerti “Marilisa de Carolis”, Sassari in 2008.
Elisabetta Farris also appears regularly in concerts and recitals. In 2008 she sang for Pope Benedetto XVI on the occasion of the Second Meeting with the Armenian Patriarch. She has also given many concert performances, including a tournée across Italy performing all the unpublished Lieder  by Hugo Wolf with the M° Dalla Chiesa.
Ms Farris has worked with several famous orchestra conductors such as Gianmario Cavallaro, Michael Halász, Francesco Lanzillotta, Sandro Lazzerini, Fabio Mastrangelo, Giuseppe Montanari, Carlo Montanaro, Marcello Panni, Carlo Palleschi and Donato Renzetti. She also worked with many prestigious stage directors, including Antonio Calenda, Dante Ferretti, Carlo Ripa di Meana and Marco Spada.
Elisabetta Farris is the recipient of numerous awards and prizes. They include the 2007 Giuseppe Verdi Prize in the "Rassegna Voci Verdiane" and the prize for best young Sardinian soprano, awarded by the Ente Concerti “Marilisa de Carolis” in Sassari. She has also recorded several albums, including the Messa di Gloria by Antonio Vivaldi with M° Sandro Lazzerini, and Onde Sonore with M° Michele Biki Panitti.
Elisabetta Farris studied Opera singing at the Conservatorio "Santa Cecilia" in Rome, where she obtained her music degree with honours. She also holds a degree in Italian Literature from the University "La Sapienza" in Rome.
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CV & Repertoire

Musical Work Role Jump-in ready? Company Year
Pergolesi: La Serva Padrona Serpina 1 week Vittorio Veneto 2017
Verdi: Ernani Giovanna 1 week Teatro Verdi Sassari 2017
Puccini: Suor Angelica Angelica Immediately Teatro Verdi Pisa 2016
Britten: The Little Sweep Rowan Immediately Teatro Verdi Trieste 2016
Boito: Mefistofele Margherita Immediately Teatro Del Giglio Lucca 2016