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Katia Ricciarelli

Katia Ricciarelli

Birth : 1946-01-16, Rovigo, Veneto, Italy

History

Catiuscia Maria Stella Ricciarelli (born 16 January 1946), known as Katia Ricciarelli, is an Italian soprano and actress. Born in Rovigo, Veneto, to a very poor family, she struggled during her younger years when she studied music. She studied at the Benedetto Marcello Conservatory in Venice, won several vocal competitions in 1968, and made her professional debut as Mimì in La bohème in Mantua in 1969, followed by a 1970 appearance in Il trovatore in Parma. In the following year, she won RAI's "Voci Verdiane" award. Between 1972 and 1975, engagements followed in the major European and American opera houses, including Lyric Opera of Chicago (1972); Teatro alla Scala (1973); Royal Opera House, Covent Garden (1974); and the Metropolitan Opera in 1975. In 1981, she began a decade-long association with the Rossini Opera Festival in Pesaro, thus broadening her repertoire of Rossini's operas. Beside her many opera performances, she also appeared as Desdemona in Franco Zeffirelli's film version of Verdi's Otello in 1986, alongside Plácido Domingo. In 2005 she won the best actress prize Nastro d'Argento, awarded by the Italian film journalists, for her role in Pupi Avati's La seconda notte di nozze. In 1991 she founded Accademia Lirica di Katia Ricciarelli, and, since 2003, she has been Artistic Director of the annual summer Macerata Opera Festival. In 2006 she participated in the reality show La fattoria (Italian version of The Farm) on Canale 5. In 1986, on her 40th birthday, she married Pippo Baudo, a television personality; she filed for divorce in the summer of 2004. In 2021-2022 she participated in the reality show “Grande Fratello VIP” (Big Brother VIP 6), getting evicted after 165 days. Source: Article "Katia Ricciarelli" from Wikipedia in English, licensed under CC-BY-SA 3.0.

Profile

Katia Ricciarelli

Katia Ricciarelli

Katia Ricciarelli

Movies

Maria

A widowed mother, tries desperately to get an entry into the ruthless world of professional football for her 12-yer-old son.

Through five stories, the film talks about the problems related to social networks and its use especially by young people.

La sedia della felicità

La sedia della felicità

Norma Pecche

Dino craft practice tattoos, Bruna is a beautician; their studies are facing each other. They learn of a mysterious treasure hidden in a chair that belonged to a woman now dead.

Faccia d'angelo

Faccia d'angelo

Madre del boss

First Happiness

First Happiness

Madre della sposa

Il ritmo della vita

Il ritmo della vita

Katia

The Friends at the Margherita Cafe

The Friends at the Margherita Cafe

Mamma di Taddeo

Bologna, 1954. Taddeo, a young man of 18 whom everyone calls Kid, dreams of becoming one of the regulars of the mythical Margherita Café, located under the portico across from his family's home. Through a ploy, he manages to get work as the chauffeur for Al, the neighborhood's most glamorous and mysterious resident. Having been taken under Al's wing, Taddeo gets to witness the adventures of Bep, who is in love with Marcella the entraineuse; the trials and tribulations of Gian, an aspiring singer and the victim of a horrible practical joke; the crazy behavior of Manuelo, a small-time robber with a sex phobia; the meanness of Zanchi, inventor of the elastic necktie; and the bizarre manias of Sarti, a ballroom dancing champion who wears his tux day and night. And Taddeo's home life is no less out of the ordinary, considering his mother is being led on by the family physician while his grandfather has fallen head over heels for a well-built piano teacher.

Black and White

Black and White

Olga

Racial integration is Elena's profession and passion, not only filling her working day as a cultural mediator assisting immigrants, but spilling over into her home life as well. All too often her husband Carlo must attend charity events where he feels distinctly out of place. During one of these evenings, Carlo meets Nadine, a beautiful black woman.

The Second Wedding Night

The Second Wedding Night

Lilliana Vespero

When his destituite widowed sister-in-law—whom he had never stopped harbouring feelings for—and her ne'er-do-well son come to live with him after World War II, a mentally-ill farmer who spends all his time destroying unexploded ordnance scattered across the countryside finds a new purpose in his lonely life.

Desdemona

Based on Shakespeare's play, Verdi's opera depicts the devastating effects of jealousy, "...the green-eyed monster which doth mock the meat it feeds upon". Believing Otello has promoted the fast-rising Cassio over himself, Iago plots to destroy both Cassio and Otello. Iago convinces the jealous Otello that his beautiful wife Desdemona is unfaithful, and that Cassio is her lover. Jealousy is followed by tragedy, then retribution, "Has Heaven no more thunderbolts?"

Mrs. Alice Ford

This first-rate 1982 production of Verdi’s Falstaff marked the great 20th century Italian maestro Carlo Maria Giulini's return to opera conducting after more than a decade's absence. Renato Bruson leads a brilliant cast as the lovable fat knight Sir John Falstaff, going toe to toe in a series of hijinks with Katia Ricciarelli (Alice Ford) and Brenda Boozer (Meg Page).

Georges Bizet: Carmen

Georges Bizet: Carmen

Micaela

Carmen, presented in a production at the French Opera House.

Un Ballo in Maschera

Un Ballo in Maschera

Amelia, Renato's wife

Live from the Metropolitan Opera, 14 February 1980. This version takes place in Boston rather than Sweden.

Verdi Un Ballo in Maschera

Verdi Un Ballo in Maschera

Amelia

This production from Covent Garden is set in Stockholm, and not Boston. With Reri Grist (Oscar), Placido Domingo (Gustavus), Katia Ricciarelli (Amelia), Piero Cappucili (Renato), Patricia Payne (? - the booklet or DVD fails to credit the singer) (Ulrica) and Claudio Abbado in the pit: all at their peak, you just simply cannot go wrong when purchasing this DVD. This performance made me realise why I had fallen in love with opera: beautiful (today one should be thankful) and convincing sets and costumes, and fiery conducting and singing from all the above soloists which leaves you breathless. Domingo as the King (not the Governor of Boston) is simply ravishing! He is so convincing and dashing as Gustavus - I think very few tenors nowadays can even attempt such a convincing vocal and dramatic performance.