Born in Piacenza, Giuseppina Bridelli made her debut at the age of 21 at the Teatro Grande in Brescia singing the role of Despina in Così fan tutte conducted by Diego Fasolis. She has subsequently distinguished herself as a leading Mozart interpreter, performing the parts of Idamante (Idomeneo) under Michele Mariotti at the Teatro Comunale di Bologna, Cherubino (Le Nozze di Figaro) at both the Teatro San Carlo in Naples and Opéra Royal de Versailles, Sesto (La Clemenza di Tito) under Federico Maria Sardelli at the Teatro del Maggio Musicale Fiorentino where she also returned to the role of Despina.
In 2023/2024, Giuseppina opened the season of La Fenice with Offenbach’s Les Contes d’Hoffmann (Nicklausse) in a Frédéric Chaslin/Damiano Michieletto production and made her debut at the Festival d’Aix-en-Provence under the baton of Leonardo García Alarcón with Monteverdi’s Ritorno d’Ulisse in patria (Melanto).
Enjoying an established reputation in the baroque repertoire, Giuseppina performed Cavalieri’s Rappresentatione di anima et di corpo in a Giovanni Antonini/Robert Carsen production at the Theater an der Wien, Handel’s Trionfo del Tempo e del Disinganno (Piacere) under Andrea Marcon for La Fenice and Vivaldi’s Tamerlano (Idaspe) alongside Ottavio Dantone in Ravenna and Piacenza.
She was Elisa in Handel’s Tolomeo with Francesco Corti on a European tour and revived the role under Giovanni Antonini for the Théâtre des Champs-Elysées among other prestigious venues.
She made her Paris Opéra Comique House debut in Cavalli’s L’Ercole amante (Dejanira) and appeared in Nancy and Versailles in Luigi Rossi’s Orfeo (Aristeo), both productions conducted by Raphaël Pichon.
Under the lead of Leonardo García Alarcón, Giuseppina starred in Cavalli’s Elena at the Opéra de Lille and in Lully’s Atys at both the Grand Théâtre de Genève and Opéra Royal de Versailles. For the Innsbrucker Festwochen der Alten Musik, she sang the title role in Cesti’s L’Orontea and Ottavia in L’Incoronazione di Poppea.
Giuseppina Bridelli has gained wide attention with Monteverdi interpreting the Vespro della Beata Vergine with Raphaël Pichon leading the Ensemble Pygmalion at the Versailles Royal Chapel, Barbican Centre and Royal Albert Hall in London, and L’Orfeo accompanied by Alarcón conducting the Cappella Mediterranea in Paris, Brussels, Amsterdam, Buenos Aires. Add to this Il Ritorno d’Ulisse in patria she headlined with Fabio Biondi and his Europa Galante for the Elbphilharmonie Hamburg and, alongside Ottavio Dantone and Accademia Bizantina, for the Monteverdi Festival in Cremona.
Further exploring the bel canto repertoire and more specifically Rossini, she has appeared at the Rossini Opera Festival as Corinna in Il viaggio a Reims, at the Teatro Municipale di Piacenza as Rosina in Il Barbiere di Siviglia and, most recently, at the Teatro Comunale di Bologna as Isolier in a new production of Le Comte Ory conducted by Oksana Lyniv and staged by Hugo De Ana.
In concert, Giuseppina has sung Haydn’s Paukenmesse under the musical helm of Giovanni Antonini for the Wratislavia Cantans International Festival, Beethoven’s Ninth Symphony with Antonello Manacorda in Potsdam and with Nathalie Stutzmann in Milan, Pergolesi’s Stabat Mater under Francesco Corti leading Les Musiciens du Louvre in Lyon and Grenoble, Rossini’s Petite Messe Solennelle alongside Giulio Prandi and his Coro Ghislieri during a Dutch tour, and Berlioz’s Les nuits d’été at the Philharmonie de Luxembourg.
Her extensive discography includes Nino Rota’s Mysterium (Decca), Vivaldi’s L’Incoronazione di Dario (Naïve), Rossini’s Péchés de vieillesse (Naxos), Porpora and Scarlatti’s Cantatas, Handel’s Aci, Galatea e Polifemo (Glossa), Stradella’s Doriclea (Arcana) and Monteverdi’s L’Orfeo (Alpha).
Giuseppina has released two solo albums on the Arcana label, “Duel – Porpora and Handel in London” and “Appena chiudo gli occhi – Cantatas for solo voice with violin by Scarlatti and Caldara”.
Recent and forthcoming engagements include Vivaldi’s Orlando furioso (Alcina) under Francesco Corti leading Il Pomo d’Oro for the Bayreuth Baroque Opera Festival, Mozart’s Clemenza di Tito (Annio) in a Tomáš Netopil/Milo Rau production at Grand Théâtre de Genève, Handel’s Rodelinda (Eduige) at Theater an der Wien and Santa Cecilia Hall Rome, A. Scarlatti’s Trionfo dell’onore (Rosina) in a new Enrico Onofri/Stefano Vizioli production at la Fenice and Bach’s Matthäus-Passion under Enrico Onofri in Clermont-Ferrand and Paris Théâtre des Champs-Elysées.
