Born in Turin, Raffaella Angeletti studied piano and music education during the university attendance; was then devoted to the singing career under the guidance of soprano Elvina Ramella. In 1995 she won the Pavarotti and Puccini awards, with a special mention of the press, debuting very young at Teatro della Scala, to where she returned in 2009 with ‘Murder in the Cathedral’ under the direction of Donato Renzetti and directed by Yannis Kokkos.
In the early years of the career she concentrated on the bel canto and Mozart repertoire (Donna Elvira, Fiordiligi and Countess in Lecce, Sassari, Rome and Bologna were she sang the role of Fiordiligi under the direction of Daniele Gatti), Adalgisa/’Norma’ in Savona, and Elisabeth/’Roberto Devereux’ in Stuttgart. Subsequently she has devoted herself to Verdi, Puccini and the major verismo roles.
Her repertoire includes the roles of Leonora Abigaille, Odabella/’Attila at Teatro dell’Opera Roma, Elvira/’Ernani in St. Gallen, Alice/’Falstaff, Lady Macbeth (at Verona with Leo Nucci, Bologna and Florence), Aida (Macerata, Tel Aviv, Seoul, Riga, Rome), Messa da Requiem (Palermo, the Sicilian Symphony Orchestra) Desdemona with the NHK Tokyo and with Placido Domingo in Oviedo), Wally (Stuttgart), Manon Lescaut (Ascoli Piceno), Mimi, Tosca (Stockholm, Dusseldorf, Palermo, Duisburg, Kiel, Rome), Cio Cio San (Turin, Macerata, Madrid, Vienna Staatsoper, Roma, Naples, Copenhagen, Genoa, Seville, Parma, Seoul), Turandot (Genoa, Torino), Maddalena/’Andrea Chenier’ in Palermo, Macerata, Zurich and Stockholm), Santuzza and the title role of Iris.
As a renowned interpreter of 20th century repertoire, she has sung in titles such as Zemlinsky’s ‘Der Zwerg’ and Menotti’s ‘The Consul’ both at the Teatro Regio in Turin, Granados’s ‘Goyescas’, Blanche/’Dialogues of the Carmelites’, ‘The Prisoner’ (Turin, Catania, Nancy) and Governess/’The Turn of the Screw’.
Raffaella Angeletti has sung under conductors including Gatti, Haider, Santi, Webb, Callegari, Palumbo, Steinberg, Nelson, Rizzi, Morandi, Villaume, Plasson, Zanetti, Rustioni, Pappano, Metha, Oren, Conlon, Luisotti, Muti. She has appeared in all of the major Italian theatres (Teatro alla Scala, Rome Opera, Teatro Regio in Turin, Carlo Felice in Genoa, San Carlo in Naples, Teatro Regio in Parma, Teatro Comunale in Florence, Teatro Comunale in Bologna, Bellini in Catania, Teatro Massimo in Palermo, La Fenice in Venice), and many abroad; National in Tokyo, Sejong in Seoul, Real in Madrid, La Maestranza in Seville, Opernhaus in Zurich, the Vienna Staatsoper. The Berlin Staatsoper. She has worked with directors such as De Ana, Tiezzi, Pizzi, Ronconi, Liliana Cavani, Kokkos G. Vick.
In recent seasons she sang the roles of Manon Lescaut (Ascoli), Aida (Riga, with Antonenko), Amelia/’Un ballo in maschera in Las Palmas, Berlin), Lady Macbeth (Florence), Tosca (Rome), Santuzza (Rome), at the Berlin Staatsoper with Amelia, Turandot at Teatro Regio Turin, Abigaille in Tokyo conducted by Riccardo Muti and Cio-Cio-san in Naples conducted by Nicola Luisotti.
In the season 2014 – 2015 she sang Abigaille in Nancy, Tosca in Rome (conductor Donato Renzetti), Amneris in Rome, Abigaille in Seattle. In the season 2015\2016 Lady Macbeth in St. Gallen, Cio-Cio-san in Athens and Abigaille in Rome, Lady Macbeth in Oldenburg and Abigaille in St. Gallen. In the season 2017\2018 she was Aida (Donato Renzetti conductor) in Guangzou, Amelia and Donna Elvira in Tianjin and in Harbin Grand Theatre, again Abigaille in St. Gallen then in Nice and Toulon. In 2018 she sang Tosca in Foshan and Shangai and 2019 Cio-Cio-san in Muscat and a concert and Amelia for Guangzhou Opera. In December she toured China with Aida, Tosca and Cio-Cio-san.
“As for the cast of singers, soprano Raffaella Angeletti depicted Butterfly with impeccable technique, balance and expressiveness, representing her as a voluntary outcast despised by her family clan and ready to die for love. Angeletti is now a regular in the role, being of the most acclaimed Butterfly in the last ten years.”
“Raffaella Angeletti, assuming the role of his illegitimate stepdaughter Abigaille, captured the destructive relationship between herself and her mother’s powerful husband. Angeletti has the range and power to encompass the vocal demands that Verdi’s score requires of any Abigaille, that many consider one of opera’s most difficult soprano roles.”
“Equally impressive was soprano Raffaella Angeletti as Abigaille. She looks tiny — short and slender — which makes her huge sound that much more surprising. She had the energy of a sprightly Brunnhilde and the kind of charisma that the ambitious Vitellia (“La clemenza di Tito”) and many Handel female throne-seekers have: bad, but you’re drawn to them anyway. In “Nabucco,” she gets a quiet death scene, which Angeletti sang and interpreted equally well as she had the fireworks in her earlier scenes. A tie for the best debut, and I hope we’ll hear both Bauer and Angeletti early and often.”