Giuliano Carella is an internationally acclaimed conductor with a wide repertoire ranging from Giovanni Paisiello all the way up to the modern Ferrero, including all the most important works in the Italian operatic repertoire and several works in the French repertoire.

In 2019 he was appointed Music Director of I Solisti Veneti, and since 2020 he has been I Solisti Veneti‘s Artistic Director.


Giuliano Carella’s most recent and future engagements include (among others):

  • concerts with I Solisti Veneti and at Rossini Opera Festival;
  • Don Pasquale at Tiroler Festspiele Erl;
  • Tosca at Opéra de Marseille and Staatsoper Stuttgart;
  • La bohème at Opéra de Nice;
  • Macbeth at Aalto Theater Essen;
  • La Betulia liberata, K.118/74c by W.A. Mozart with I Solisti Veneti in Padova;
  • Madama Butterfly at Opéra National du Rhin;
  • Bianca e Falliero at Tiroler Festspiele Erl and Oper Frankfurt;
  • Carmen at Théâtre du Capitole de Toulouse;
  • Rigoletto at Staatsoper Stuttgart and at New Israeli Opera Tel Aviv;
  • ‘A Venetian Evening’ concert with I Solisti Veneti in Oman.


Giuliano Carella has conducted repeatedly at the Bayerische Staatsoper in Munich, Berliner Staatsoper, Hamburgische Staatsoper, Wiener Staatsoper, Opéra Comique in Paris, Opéra de Marseille, Opéra du Rhin in Strasbourg, Teatro de la Zarzuela and Teatro Real in Madrid, Liceu in Barcelona, Teatro Sao Carlos in Lisbon, Opéra de Montecarlo, Opera North in Leeds, New Israeli Opera in Tel Aviv, Teatro Colon in Buenos Aires, Michigan Opera Theatre in Detroit, New National Theatre in Tokyo, Opéra de Wallonie in Liège, Opéra de Toulon, as well as, a.o. Arena di Verona, Teatro Comunale in Bologna, Teatro Massimo in Palermo, Teatro Carlo Felice in Genova, Teatro Verdi in Trieste, Rossini Opera Festival in Pesaro, Martina Franca Festival, Puccini Festival in Torre del Lago and at Belcanto Festival in Dordrecht.

Next to Carella’s operatic repertoire, particularly important is his symphonic activity leading some of the most prestigious orchestras in some of the greatest concert halls such as Paris’ Salle Pleyel, London’s Queen Elizabeth Hall and Concertgebouw in Amsterdam.

Giuliano Carella’s engagements in recent years include (among others): I puritani at Opéra de Marseille, Tancredi and Giovanna d’Arco at Théâtre de la Monnaie de Bruxelles and at Opéra de Marseille; Rigoletto, Tosca, Don Pasquale, Ariodante, I Puritani at Staatstheater Stuttgart; Le Prophète by Meyerbeer in Essen; Roméo et Juliette at Opéra de Toulon and in Montreal; Francesca da Rimini in Strasbourg; La Bohème at Dallas Opera.

Among his notable engagements in the past few years are Stiffelio at Frankfurt Oper, Tosca in Toulon and in Essen, Il tabarro, Gianni Schicchi and Suor Angelica at Royal Danish Opera, Carmen at Semperoper Dresden, Semiramide in Marseille, Gianni Schicchi with Placido Domingo as Schicchi at Teatro Real di Madrid, Madama Butterfly and La Traviata in Stuttgart, Il TrovatoreSimon BoccanegraLakmé in Toulon, Il barbiere di Siviglia at Dallas Opera.

Other engagements include La Traviata at Amsterdam National Opera; Il Trovatore at Arena di Verona; Nabucco and Madama Butterfly in Stuttgart; L’Italiana in Algeri in Marseille; Vêpres Siciliennes at Frankfurt Oper; Il Barbiere di Siviglia in Dallas, Norma, Carmen, Madama Butterfly, I Pagliacci/Cavalleria Rusticana, Don Giovanni and Lakmé at Opéra de Toulon, Gala Concert with Joseph Calleja in Helsinki, Lucrezia Borgia in Montecarlo, Madama Butterfly in Parma, La finta semplice at La Fenice in Venice, Un Giorno di Regno in Nancy, Turandot and Norma in Barcelona (both recorded on dvd by TDK), Adelaide di Borgogna at the Edinburgh International Festival and Donizetti’s Il Diluvio universale at the Theatre Royal Drury Lane in London for Opera Rara, Roméo et Juliette, La Wally, Andrea Chenier, Macbeth and Poliuto at the Amsterdam Concertgebouw, Norma at the Berliner Staatsoper, Lucia di Lammermoor in Strasbourg, Cenerentola at the Grand Théâtre de Geneve, Cyrano de Bergerac with Roberto Alagna in Montecarlo, La Traviata at the Michigan Opera Theatre in Detroit and at the Japan Opera Foundation, Tosca at the Arena di Verona.

Carella has recorded several complete operas, several of them critically acclaimed like the autograph version of Sonnambula (Premio Musica e dischi) and Ernani’s critical edition (Diapason prize) recorded for Nuova Era, Pacini’s L’ultimo giorno di Pompei (Le Timbre de Platine) for Dynamic, as well as a number of recitals for Teldec and Erato leading the English Chamber Orchestra with Sumi Jo and Jennifer Larmore (Grammy Award Nomination 1999). For Opera Rara he has recorded Rossini’s Elisabetta regina d’Inghilterra with Jennifer Larmore, Donizetti’s Il diluvio universale, an highlights cd of Meyerbeer’s L’esule di Granata with the London Philharmonic Orchestra as well as Rossini’s Adelaide di Borgogna, live from the Edinburgh Festival.


Giuliano Carella got his degree in conducting at the “Giuseppe Verdi” Conservatory in Milan, in composition at the “Cesare Pollini” Conservatory in Padova and he was awarded an honorary merit degree at the Accademia Chigiana di Siena, where he specialized under Franco Ferrara.


Giuliano Carella conducts a concert w. I SOLISTI VENETI and Marco Pierobon – Padova, May 2021


Don Pasquale at Tiroler Festspielen Erl – Dec. 2022

“Szene und Musik sind bis zum letzten Takt von schlüssiger bis bewegender Einheit. Auf der musikalischen Seite kommen dazu ideale Glückspunkte. Giuliano Carella macht es mit dem hervorragenden Orchester der Tiroler Festspiele Freude, in „Don Pasquale“ die gleichen Herbstfarben und Seelentöne zu finden, wie sie in Donizettis „Liebestrank“ stellenweise und in „Maria Stuarda“ ständig aus den Figuren herausbrechen.”

– Roland H. Dippel,

I puritani at Opéra de Marseille – Nov. 2019

“L’autre grand triomphateur de l’entreprise est Giuliano Carella, qui sait tirer le maximum de l’orchestre et des chœurs de l’Opéra de Marseille, ces derniers ayant été idéalement préparés par Emmanuel Trenque. Le chef italien anime la musique d’un tempo souvent rapide, il ne traîne pas pour faire avancer l’action, mais sans excès ni outrance dans les volumes. Tous les pupitres sont à saluer, du somptueux tapis de cordes aux bois sereins, mais une mention est à adresser aux cors, d’abord impeccables dans l’ouverture, avant que le cor solo ne se distingue par un sans-faute dans l’introduction de la confrontation Riccardo-Giorgio (fin d’acte II).”

– François Jestin,