INTRODUCTION

Erika Grimaldi has a rich, mellow and round voice of quality and attractive timbre in good balance and of pure intonation. Her warm, flowery soprano voice stands out with impressive depth and steadiness unifying a personal musical expression with a captivating stage presence.

The artist is one of the most sought for lyric sopranos in Europe today, having delivered critically acclaimed performances in nearly a dozen roles at the prestigious Teatro Regio di Torino. Erika Grimaldi is equally at home at such major opera houses as Teatro dell’Opera di Roma, Bayerische Staatsoper in Munich, Deutsche Oper in Berlin, Teatro di San Carlo in Naples, and Opéra National de Montpellier.

She works regularly with Artistic Teams such as Noseda, Chailly, Luisotti, Allemandi, Penderecki, Santi, Lanzilotta, Rustioni, Sagripanti, Montanaro, Lopez-Cobos, Abbado, Bieito, Loy, Poda, Ollé, Sagi, etc.

RECENT AND FUTURE ENGAGEMENTS

Erika Grimaldi’s future projects include:

  • a role debut as Amelia/Un ballo in maschera with Noseda and Homoki in Zürich, and at Teatre Principal de Maó in Menorca;
  • the title role in Manon Lescaut at Teatro Regio di Torino;
  • the title role in Tosca at the Puccini Festival on the 100th anniversary year of the death of Giacomo Puccini and at Teatro Regio di Parma;
  • a house debut as Maddalena/Andrea Chénier (concert version, w. M. Armiliato) at Zürich Opera House;
  • a house debut as Contessa/Le nozze di Figaro at the Welsh National Opera;
  • a house debut as Alice Ford/Falstaff at Teatro Carlo Felice di Genova;
  • Desdemona/Otello and Beethoven’s Missa Solemnis w. the National Symphony Orchestra of Washington and Maestro G. Noseda at the Kennedy Center;
  • a role debut as Cio Cio San/Madama Butterfly at Opera Nacional de Chile in Santiago;
  • Verdi’s Requiem w. Maestro Noseda at the Tsinandali Festival in Georgia;
  • Beethoven’s 9th Symphony in Padova, Riva del Garda, and Bassano del Grappa.

Among her most recent highlights are:

  • Contessa/Le Nozze di Figaro at Moscow’s Bolshoi Theatre;
  • Mimì/La Bohème and the title role in Aida at Teatro Regio di Torino;
  • a role debut as Tosca at Ópera de Las Palmas de Gran Canaria;
  • Lady Macbeth/Macbeth at Korea National Opera in Seoul;
  • Verdi’s Requiem w. Auckland Philharmonic, in Milan with Claus Peter Flor, in Georgia with Maestro Noseda, and w. Czech Symphony Orchestra and Maestro Marcello Rota in Prague;
  • Leonora/Il Trovatore (concert version) w. Auckland Philharmonic;
  • Maddalena/Andrea Chénier (a role debut), Leonora/La Forza Del Destino, the title role in Manon Lescaut and a soprano soloist in Mahler’s 4 Symphony at Teatro Comunale di Bologna;
  • Liù/Turandot at Teatro Regio di Torino and the Teatro Verdi di Padova;
  • Alice Ford/Falstaff at the Teatro Petruzzelli di Bari;
  • Nedda/Pagliacci in Trapani and Deutsche Oper Berlin;
  • Mozart’s Requiem at the Granada Festival in Spain;
  • Stabat Mater at Kennedy Center Washington;
  • Stabat Mater by Rossini w. Maestro Abbado at Teatro Filarmonico in Verona;
  • Symphony no. 8 Lieder der Vergänglichkeit, conducted by renowned Polish composer Krzysztof Penderecki at Bucarest Enescu Festival;
  • Beethoven’s Symphony No. 9 with Orquesta ADDA Sinfónica and Orfeón Donostiarra in Spain;
  • a Verdi recital at the Festival des Nuits Romantiques in Aix-Les-Bains, France;
  • a recital at Festival Torroella in Spain in memory of Victoria De Los Angeles.

BIOGRAPHY

Praised by the San Francisco Chronicle for the “expansive warmth” and “expressive vigor” of her interpretation of Mimì in La bohème, as well as by the New York Times, which described her performance of Verdi’s Messa da Requiem as “strong and impressive”, Erika Grimaldi is widely considered as one of the most established and requested sopranos of her generations in theaters and festivals such as the Teatro alla Scala Milan, Bayerische Staatsoper Munich, San Francisco Opera, Deutsche Oper Berlin and the Arena of Verona, as well as the Teatro Regio Turin.

Born in Asti, Erika Grimaldi developed her passion for music in her early childhood, first learning to play the piano and subsequently approaching the art of singing at the age of 16. She obtained her diploma in both disciplines (Piano and Voice) at the Conservatoire “Giuseppe Verdi” in Turin, making her stage debut at the very young age of 18 as Serpina in La serva padrona. In the following years, she won several prestigious competitions such as the “Concorso Lirico Internazionale” in Orvieto, and was cast as Carolina in Il matrimonio segreto, Susanna in Le nozze di Figaro, Nannetta in Falstaff and Zerlina in Don Giovanni.

Recent Past Seasons

2018-2019

Highlights of 2018/2019 season were Verdi’s Requiem at Gulbenkian Foundation Lisbon, conducted by Michel Corboz and the role of Donna Anna/Don Giovanni at Teatro Regio in Turin. Erika has been on tour with the Israel Philharmonic Orchestra conducted by Gianandrea Noseda singing Rossini’s Stabat Mater in Tel Aviv, Jerusalem, and Haifa. Then she played Nedda/Pagliacci at Berlin’s Deutsche Oper,  Liù in a Stefano Poda’s new production of Puccini’s Turandot in Turin and the role of Countess in Le nozze di Figaro at Moscow’s Bolshoi Teather. The last engagement of the year was Rossini’s Stabat Mater in Toulouse with Orchestre national du Capitole de Toulouse.

2017-2018

During season 2017/2018 Erika Grimaldi appeared at 70°th Edinburgh International Festival playing Mimí/La Bohème and singing Verdi’s Requiem, followed by her debut in the role of Mrs Alice in Verdi’s Falstaff, conducted by D. Renzetti in Turin. Then she was again Mimí in La Bohème at War Memorial Opera House in San Francisco. She performed Mathilde in Rossini’s Guglielmo Tell at Bayerische Staatsoper in Münich and Nedda in a new production of Leoncavallo’s Pagliacci, conducted by Nicola Luisotti with the direction of Gabriele Lavia. In the summer she sang Beethoven’s IX Symphony at Arena in Verona, conducted by Daniel Oren. In autumn she sang Verdi’s Requiem in Konzerthaus of Dortmund and in Alte Oper of Frankfurt, both conducted by Andrés Orozco-Estrada.

2015-2016

The 2015/2016 season marks a very important Grimaldi’s debut as Giovanna d’Arco at Teatro alla Scala in Milan under the baton of Riccardo Chailly, directed by Moshe Leiser. Then she performed again Mimí/La Bohème at Oviedo’s Teatro Campoamor with the direction of Emilio Sagi and sang Verdi’s Requiem at the Philharmonie de Paris. In Hong Kong Cultural Centre she appeared as Maria/Simon Boccanegra (conducted by Roberto Abbado for HKAF 2016) and again in Verdi’s Requiem. Then she played Armilla/La donna serpente in Turin, Micaela/Carmen at War Memorial Opera House in San Francisco, Mimí/La Bohème at Savonlinna Opera Festival. She distinguished herself again in Verdi’s Requiem on tour with London Symphony Orchestra conducted by G.Noseda (Barbican Centre in London, Lincoln Center in New York, Palau de la Musica in Barcellona). Finally, she played Alice Ford/Falstaff, conducted at Verbier Festival and Cousinier in Le Rossignol by  I. Stravinskyij at Stresa Festival.

EDUCATION & AWARDS

Graduated with distinction in singing and piano at Conservatorio Giuseppe Verdi in Turin, in 2008 Erika Grimaldi won the Adriano Belli competition at the Teatro Lirico Sperimentale in Spoleto and after that her engagements kept rising over 2009 and the soprano found herself in major venues both at home and abroad.

AUDIO & VIDEO

Erika Grimaldi – Tosca by G. Puccini – ‘Vissi d’arte’ – Ópera de Las Palmas (Feb. 2024)

Erika Grimaldi – La forza del destino by G. Verdi – ‘Pace, pace mio Dio’ – Teatro Comunale di Bologna (Jun. 2023)

Erika Grimaldi – Aida by G. Verdi – ‘Ritorna vincitor’ – Teatro Regio Torino (Mar. 2023)

Erika Grimaldi – La bohème by G. Puccini – ‘Sì, mi chiamano Mimì’ – Teatro Regio di Torino (Oct. 2023)

Erika Grimaldi – Andrea Chénier by U.Giordano – ‘Vicino a te s’acqueta’ w. G. Kunde – Teatro Comunale di Bologna (Oct. 2022)

Erika Grimaldi – Manon Lescaut by G. Puccini – ‘In quelle trine morbide’ – Teatro Comunale di Bologna (Jan. 2024)

Erika Grimaldi – Macbeth by G. Verdi – ‘Vieni t’affretta … Or tutti sorgete’ – Korea National Opera (Apr. 2023)

Erika Grimaldi – Aida by G. Verdi – ‘Qui Radamès verrà… O Patria Mia’ – Teatro Regio Torino (Mar. 2023)

Erika Grimaldi – Andrea Chénier by U.Giordano – ‘La Mamma Morta’ – Teatro Comunale di Bologna (Oct. 2022)

REVIEWS

Manon Lescaut by G. Puccini – Teatro Comunale di Bologna, Jan. 2024

“Without ever losing sight of the stage, where an excellent group of soloists did the rest. Beginning with the lead pair, Erika Grimaldi’s Manon (an artist the Comunale is building up loyalty to; her third engagement in little more than a year), from the heartfelt beginning of ‘In quelle trine morbide’ and then onward in a continuous crescendo to the fearsome and poignant ‘Sola… perduta…abbandonata’ which closes the opera making her queen of the stage.”

– Ansa

Manon Lescaut by G. Puccini – Teatro Comunale di Bologna, Jan. 2024

“Soprano Erika Grimaldi, debuting in the title role, needs only a few gestures to convey Manon’s volatile character, torn between her love for Des Grieux and her fascination with luxury: vocally, the beautiful dark color of her voice and the ability to know how to dose it even In ”In quelle trine morbide” and, with even more remarkable results, in the nuances of “Sola… perduta… abbandonata.”

– Giulia Vannoni, Il Ponte

Andrea Chénier – Teatro Comunale di Bologna, Oct. 2022

“Magnífica Maddalena de Coigny la de la soprano Erika Grimaldi, cuya trayectoria artística la impone entre las más autorizadas lirico-spinto del momento; su voz no es solo notable por la riqueza de armónicos y brillantez en el agudo di forza, más también por el control en emitir medias voces de emocionante fuerza y calidad. “La mamma morta” supuso un momento en que se paró el tiempo, fue sensacional por compenetración con Kunde y arranque en todo el precioso dúo final del cuarto acto.”
– Andrea Marli, ÓPERA ACTUAL

Turandot – Teatro Regio di Torino, 2018

“Liù è Erika Grimaldi, che porta sulla scena un personaggio particolarmente accurato, e che in questa edizione risulta preminente rispetto a Turandot. Il soprano astigiano utilizza uno strumento vocale caldo e omogeneo nell’emissione, dotato di particolare espressività nei filati, godibile e ricco di colori su tutta la linea. L’insieme di queste buone premesse si concretizza nell’esecuzione di un “Signore ascolta” da manuale.”
– Salvatore Blasco, Connessi all’Opera

Giovanna d’Arco – Teatro alla Scala, Milan – 2016

“Erika Grimaldi ha impersonato la Giovanna dei fraseggi belcantistici e dell’ampia tessitura con voce chiara e melodiosa, il suo timbro più accomodante nei duetti, nei terzetti e nei concertati col coro ha svelato tutta l’intimità del personaggio: al suo debutto scaligero la Grimaldi ha retto assai bene.”

– Marco Nebuloni, Fermata Spettacolo

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