Long Biography  

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Beginning of the study: love for 'ancient music'

​Emanuela, although having always sung, began to cultivate her voice when Maestro Vittorio Rosetta, master of the Scala Choir, decided to include female voices in his Viotti Polyphonic Choir in Vercelli, Italy, and was one of the first to be part of it at the age of 16. The first years of study were aimed at achieving a technique and a repertoire for the performance of chamber and pre-romantic music with the assiduous attendance of specialized courses. She began studying singing with the director of the "Stanislao Cordero di Pamparato" Institute, Mauro Uberti, and attended the Lacoste course with the "Deller Consort"of London, among others. She joined various early music's ensembles, and undertook an intense concert activity, which included "La Dirindina" by D. Scarlatti, concerts for voice, lute and theorbo, groups of madrigalists, and many others.

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Discovery of Opera

Meet with Argentinian mezzo-soprano Lia Araujo marked the beginning of the study of the operatic technique. Following her admission to the Music Conservatory, she decided to join the “Lyrique Viotti Choir” and began to have experience on stage. She completed her Academic studies obtaining the Singing Diploma awarded by the Conservatoire “N. Paganini” of Genoa. (AFAM Diploma with distinction 2:1)

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First steps in the singing career: Mezzo-soprano

In 1988 she won the competition for a mezzo-soprano permanent placement in the Choir of Genoa Opera, where conductor D. Oren allowed her to sing small roles with great casts. (ex. one of Turandot's handmaids with Ghena Dimitrova and Nicola Martinucci).
In 1990 she won the competition for a mezzo-soprano permanent placement for the “St. Cecilia Academy” Choir in Rome, where she had the opportunity to sing as a soloist in several concerts, including the mezzo part of Schumann's Manfred and Der Rose Pilgerfahrt, Schubert's Ständchen, under the direction of D. Gatti, C. Thielemann and N. Balatch.

At the same time, she perfected technique and repertoire with Ann English Santucci, Margaret Baker Genovesi, and Rolando Nicolosi.

As a winner of the International Competition “M. Battistini” in 1994 (with Fiorenza Cossotto president of the jury), Emanuela debuted the role of Santuzza of Mascagni's "Cavalleria Rusticana" at the Rieti Theatre. In 1996 she won the “Cittá di Roma” International Competition Award, debuting the role of Rosina of Rossini's “Barber of Seville” at the National Theatre in Rome.

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Begins of the theatrical career

Since that moment, her solo career had begun. She played the role of Dorabella in Mozart’s  “Cosi fan tutte” in Brescia, Bergamo, Cremona, Pavia, Piacenza and Como Theatres, following an audition for ASLICO.
In 1997 she made her debut as Rosina alongside Rockwell Blake at the La Fenice Theatre in Venice, Giunone in Cavalli “Ercole amante” at the Alighieri Theatre in Ravenna, Suzie of Puccini’s “La Rondine” at the Munich Philarmonicher, the role of Henriette in the contemporary work “Combattimento con l’Angelo” by C. Galante at the International Festival of Noto and at the Massimo Theatre in Palermo.

 

Emanuela was invited to sing in Venice at La Fenice Theatre in 1998 to sing in the 9th Symphony of Beethoven and Belisa of “Il Re Teodoro in Venezia” by Paisiello, a role played at the Wiesbaden Theatre as well, Cherubino at Magnani Theatre of Fidenza, and Rosina at the Brancaccio Theatre in Rome and the Dante Theatre in Palermo, among others.

She had been the protagonist of another contemporary music role, Paride de “Il Giuramento di Paride” by M. Panni in Narni and Amelia Theatres.

In 1999 she sang Rosina at the Vittoriale D'Annunzio invited by Alfredo Mariotti, with Antonio Salvadori and Bonaldo Giaiotti, and she sang the same role in the theatres of Brussels, Antwerp and in Ventidio Basso of Ascoli Piceno.

Later on, she sang Fenena of Verdi's "Nabucco" in Ascoli and at the Munich Deutches Theater; at the Teatro Massimo of Palermo, she played Marc of Debussy's “Le martyre de St. Sebastien”. In 2000 she sang  Paride once more in the theatres of Nice and Tourcoing in France.

 

Emanuela made use of an extensive oratorio repertoire including Rossini's Petite Messe Solemnelle with pianist maestro Michele Campanella at the Bellini Theatre in Naples in 1998, Pergolesi’s Stabat Mater with soprano Cecilia Gasdia (both for 'Il Gonfalone' in Rome and on tour in Argentina with “I Musici" di Roma for the Mozarteum Argentino in 1999), Rossini’s Stabat Mater with the Bari Symphonic Orchestra at St Nicolas Cathedral and the J. S. Bach’s John Passion in 2000.

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Challenging Change: towards Dramatic Soprano

Following the encounter with Antonio Carangelo, who perfected his technique with M. Del Monaco and E. Campogalliani and founded his own Academy in Vienna, Emanuela decided to move to the dramatic soprano register in only a few months. She participated in the “Alcamo International Competition” in 2000, president of jury Fiorenza Cossotto, and she won the 2nd Prize and the Special Jury Prize of the association "Friends of the 'Loggione della Scala".

 

In November 2000, she debuted Leonora of Verdi’s “Il Trovatore” within the “Cittá di Roma” Competition, following an audition. She sang in numerous recitals and concerts, including 'Adriana Lecouvreur' arias at the Argentina Theatre in Rome, Verdi's arias for the “Verdi Year Celebration” in Rome, and on tour in the USA in 2001, and she debuted Norma in the theatres of Barletta and Brindisi.

She decides to adopt also the artistic name of Emma Rosati, with which she made her debut as Leonora in Spain at Alicante and the Barakaldo Theatre in 2001, using the precious advice of master Francesco "Paco" Ortiz, followed by Tosca (2002) and Madama Butterfly (2003), and she sang in operatic recitals in Jakarta and Singapore.

She sang M. Butterfly at the Lisbon Coliseum in 2004, then in Mostoles, Albacete, and Alicante in Spain, and Norma at the Barakaldo Theatre.

In 2003, she was chosen by m. tro Gustav Khun to cover Brunhilde of the Wagnerian Nibelungen Ring for the “Tiroler Festivalspiele” in Erl (Austria), and Sieglinde. She sang the Götterdämmerung's "Immolation Scene " at the 2004 Festival Inauguration Concert, and since then she is a member of the Montegral Academy.

 

Times of changes

Between 2005 and 2006 Emanuela, noting that her voice was not suitable to support the repertoire of the last years, decided to return to the mezzo-soprano register.
At the Tiroler Festspiele she sang Rossini's Petite Messe Solennelle in 2005 and Kundry's 'Parsifal' in 2006 (released on DVD) and during her last season in Erl in 2007, she sang again the role of Kundry and the Hohe Stimme of Parsifal (released on CD), as well as prepare the roles of Waltraute in the "Götterdämmerung" and the Brangäne in the 'Tristan und Isolde'.
 

For some years she lived in Spain collaborating with the Compagnia Lirica di Andalusia in Seville and singing in many recitals of opera, zarzuela, and Spanish chamber music. Among her prestigious concerts, Emanuela was invited by the Italica Foundation in Santiponce, she sang in the Real Alcazar of Seville for the 2007 Christmas Concert in the Cathedral of Seville, a Gala Concert in honor of the tenor Pedro Lavirgen, for the Asturian Centre in Madrid and the University of Cordoba. She worked on a project of fusion between opera singing and flamenco with the cantor Manolo Paradas, culminating in a concert at the Teatro Cerezo in Carmona.

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She was invited to sing Grimgerde of Walkure in 2007 at the Siam Opera House in Bangkok alongside her husband, the bass-baritone Phillip Joll interpreting the role of Wotan. Concerts and performances followed in Spain, Italy, and Great Britain which included Purcell's Dido, the mezzo part in Verdi's Requiem in Chester Cathedral and Fakenham Cathedral for the Choral Society, the Petite Messe Solennelle and Rossini's Stabat Mater.

In 2009 she obtained the LTCL Diploma in Recital Singing at the Trinity College of London with Distinction (92/100). Afterwards, she sang Adalgisa in Italy and Wales (in English), Fenena in Nabucco, the mezzo part in Handel's Messiah and Mendelssohn's Elijah, Ulrica in Verdi's Masked Ball and Azucena del Trovatore (in English) in 2015.

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She returned to Bangkok to sing Mary from "Der Fliegende Holländer" and a mezzo part in the 'VIII Symphony' of Mahler in 2013, Emilia in "Otello" in 2013, followed by Ulrica at the Teatro Comunale di Casale and Venaria Reale (Turin) and Fenena in Massa Marittima. In 2018 she was invited to Bangkok to sing the role of Suzuki in a revival of "Madama Butterfly". In 2019, alongside teaching for the LSC -London Studio Centre- in Hereford, she directed and sang at the Teatr Soar of Merthyr Tydfil arias and songs with her students in a monographic show to celebrate the centenary of the soprano Adelina Patti.

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In 2022, in the Autumn, she performed in Duo with Maestro Maurizio Colacicchi at the piano in various recitals, for the 'Amici della Musica' di Piacenza, and on tour at the TNUA Concert Hall of Taipei (Taiwan) – with Masterclass at the "Taipei National University of Arts" - and at the "Balai Recital Kertanegara Hall" in Jakarta (Indonesia).

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Emanuela received her PGCE/PCET Degree in Education as an assistant teacher at the Theatre Course at the University of South Wales in 2015, and has resumed substantial work of revision of the entire technique, reaching a level of completeness that she wishes to share with the public with renewed enthusiasm. As a teacher, she is following the improvement of two young singers who have won various competitions, one of whom is about to debut the role of Donna Anna at the D. Buzzati Theatre in Belluno, and the other who won the Competition of the Pavarotti Foundation.

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 updated 15.07.2024 

 

 

 

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