Elena Ferrari
Elena Ferrari studied at the National Opera Studio. Having attended the Arts Educational School’s Drama Course her career progressed through acting in classical theatre and television to music theatre and finally to performing opera.
Elena Ferrari made her operatic debut as Musetta in Phyllida Lloyd’s production of La Bohème for Opera North to considerable critical acclaim. As a result she was invited back to sing Fiordiligi Cosi fan tutte. Her other roles for Opera North have included Violetta La traviata, Bice Violanta (Korngold), Miss Wordsworth in Phyllida Lloyd’s production of Albert Herring and Donna Elvira Don Giovanni.
For English National Opera Elena Ferrari performed Lauretta Gianni Schicchi and Sister Genevieve Suor Angelica. For Grange Park Opera she sang the role of Musetta in a new production of La Bohème and was invited back to play roles in several new productions including Clorinda La Cenerentola, Gianetta L’elisir d’amore and Boulotte in Offenbach’s Barbe Bleu. At Garsington Festival she performed the role of Cinna in a new production of Mozart’s Lucia Silla and also sang Rosalinde in a new production of Die Fledermaus for Opera Holland Park. Her roles for English Touring Opera have included the Countess The Marriage of Figaro and Violetta La traviata.
Elena Ferrari won critical acclaim for her portrayal of the leading role of Mrs Maurrant Street Scene with The Opera Group at The Young Vic. This production won ‘Best Musical’ in the 2008 Evening Standard Theatre Awards.
Elena Ferrari’s other engagements have included the leading soprano role of Elsie in the world première of The Triumph of Spirit over Matter by Wim Henderickx in a joint production between the Théâtre Royal de la Monnaie, Brussels and Muziektheater Transparant, Antwerp and Madame Silberklang Der Schauspieldirektor for TCC Productions, Lisbon. Her repertoire also includes Tamiri Il re pastore, Donna Anna Don Giovanni, Antonia Les Contes d’Hoffmann, Eltrude Alfred (Thomas Arne), Mary Hugh the Drover (Vaughan Williams), Tartagliona L’augellino belverde (Jonathan Dove), Lusya Cheryomuski (Shostakovitch), Concepcion L’heure Espagnole, Lillian Happy End (Kurt Weill), Polly Peachum Threepenny Opera and Cunegonde Candide.
She appeared at the BBC Proms in the Royal Albert Hall singing Jessie Mahagonny Songspiel and German Cabaret Songs and Bice Violanta (Korngold) conducted by Paul Daniel.
Miss Ferrari has a busy concert diary. Her oratorio repertoire includes Gounod’s Cacilienmesse, Elgar’s The Kingdom and the Verdi Requiem.
Miss Ferrari’s recent engagements have included Nettie Carousel for Opera North and further performances as Mrs Maurrant Street Scene at the Opera de Toulon and with the Opera Group at the Young Vic and on tour. She is currently performing the role of Nettie Carousel with Opera North at London’s Barbican Theatre. Future plans include further performances of Street Scene on tour to the Théâtre du Châtelet, Paris, and the Gran Teatre del Liceu in Barcelona.
September 2012
Nettie Fowler / Carousel / Opera North
“ . . . and to Elena Ferrari’s Nettie Fowler falls the responsibility of presenting the anthemic You'll Never Walk Alone, to which her grandeur and warmth bring an overwhelming emotional charge. . .”
George Hall / The Guardian
“ . . . Elena Ferrari blazes her way through June is Bustin’ Out All Over. . .”
Geoff Brown / The Times
“…Elena Ferrari sings Nettie Fowler's contrasting ‘June is Bustin' Out All Over’ and ‘You'll Never Walk Alone’ with assurance…”
Rupert Christiansen / The Daily Telegraph
Anna Maurrant / Street Scene at the Opera de Toulon
“ . . .The marvellous Elena Ferrari excites admiration and compassion . . .”
Claudie Kibler Andereotti / La Marseillaise
“ . . . one of the 6 best productions world wide seen in 2010 . . .”
Le Figaro
Anna Maurrant / Street Scene / The Opera Group at the Young Vic, Buxton Festival and on tour
“ . . .But the evening belongs to the golden-voiced Elena Ferrari, who beautifully conveys the love-starved Mrs Maurrant’s yearning, as well as her intense pride in her one satisfaction, her children. The song in which she soothes her small, fretful son (“Somebody’s going to be so handsome…”) is heartbreaking, not only for its warmth and conviction, but for our knowledge that she will never see him grow up . . .”
Rhoda Koenig / The Independent
“ . . .Elena Ferrari is in powerful voice as a sympathetic Anna Maurrant . . .’”
Rupert Christiansen / The Daily Telegraph
“ . . .Director John Fulljames has gathered a splendid 17-strong cast, brilliantly led by Elena Ferrari. . .”
Philip Radcliffe / Manchester Evening News
“ . . .Elena Ferrari’s performance as the doomed Anna Maurrant is heroic . . .”
Michael Church / The Independent
“ . . .Elena Ferrari is heart-rendingly moving as Anna . . .”
Simon Edge / The Daily Express
“ . . . A magnificent anguished Elena Ferrari . . .”
Amanda Holloway / Opera Magazine
“ . . .Elena Ferrari’s Anna Maurrant radiates thwarted warmth . . .”
Geoff Brown / The Times
“ . . . Anna, played with knowing assurance by the wonderful Elena Ferrari . . .”
Paul Vale / The Stage
Boulotte / Bluebeard (Offenbach ) / Grange Park Opera
“ . . .You understand the importance of the role of Boulotte when you learn that it was first performed by the great Hortense Schneider, whose other roles for Offenbach included Helen of Troy, La Grande Duchesse de Gerolstein and La Perichole. Elena Ferrari was dazzling in the role, embracing both the comedy and Offenbach's brilliant music. The whole cast was strong, but Ferrari stood out as the diva just as she should, dominating the stage but without ever overbalancing the ensemble. . .”
Robert Hugill / Music & Vision
Miss Wordsworth / Albert Herring / Opera North
“ . . . Elena Ferrari was wonderfully funny as Miss Wordsworth, nearly stopping the show with her rehearsal: few can have expected that the Violetta for this and other companies should have such a great gift for comedy . . .”
Rodney Milnes / Opera
“ . . .The cast is as strong a team as any imaginable today, and Elena Ferrari is an unalloyed delight as the simpering schoolteacher. . .”
Hugh Canning /The Sunday Times
“ . . . Elena Ferrari’s deliciously scatty schoolmarm . . .”
Rodney Milnes / The Times
“ . . . One seldom sees such fluent ensemble acting in opera, and even the more obvious caricatures, such as the twittery schoolmistress Miss Wordsworth are kept within the bounds of psychological possibility … and there is a particularly delightful performance from Elena Ferrari (Miss Wordsworth) . . .”
Rupert Christiansen / The Telegraph
“ . . . The ghastly denizens of Loxford are a group of extraordinary character portraits including Elena Ferrari’s ditsy school teacher . . . ”
Tim Ashley / The Guardian
“ . . . Each member of the high-quality cast can act. Elena Ferrari’s tiresomely eager Miss Wordsworth completing the fine line-up of undesirable women. . .”
Fiona Maddocks / Sunday Observer
“ . . .There is not a weak link in the cast of singing actors, or acting singers. Elena Ferrari is the slightly batty schoolteacher, Miss Wordsworth. All these characters are carefully delineated, but played without crudeness or exaggeration. . .”
Anthony Arblaster / The Independent
Violetta / La traviata / Opera North
“ . . .Elena Ferrari sings Violetta most impressively. It’s a big voice and all the notes are easily within her grasp, from sprightly first act coloratura to real weight for the despairing outbursts in the latter scenes….my goodness she can sing. . .”
Rodney Milnes / The Times
“. . . here’s a strong, gutsy and sympathetic Violetta in Elena Ferrari, who, with her glossy soprano, negotiates the role’s considerable difficulties with seeming ease. . .”
Erica Jeal / The Guardian
“ . . .It helps to have a singer who can carry the central role’s dramatic weight. No Violetta, no opera, but ETO is fortunate in having Elena Ferrari. Her tone and phrasing are idiomatic and her emotional portrayal is always keenly felt. . .”
Nick Kimberley / The Independent
“ . . . A Violetta glowing with confidence, warmth and vitality . . .”
Rupert Christiansen / The Daily Telegraph
“ . . .Elena Ferrari is a tigerish Violetta, whose exuberance and fierce will to live guide her every move. Even in her dying hours she is coquettish with Doctor Grenvil, angry with frustration in a superbly characterised and sung Addio del passato. She sings throughout with sensitivity and style. . .”
David Blewitt / The Stage
