She has recently been engaged in Wally Decker's evocative production of Káťa Kabanová by Janáček at the Teatro di San Carlo in Naples conducted by Juray Valchua. Was invited to participate in the “musical meeting” that Riccardo Muti wanted to dedicate to children of the Juvenile Penitentiary Institute of Nisida where she performed in the most famous opera arias of her repertoire.
Her flexible and clear vocality allows her to range in repertoire from early music to the twentieth century one; her excellent knowledge of foreign languages allows her to successfully dedicate herself to lieder and chamber repertoire resulting in a fruitful concert activity.
It is impossible to list here all the programs and recitals with which she enchanted the audiences of Italy and Europe, always attentive and generous in proposing, both the well-known repertoire and musical pieces rarely heard by the audience, inviting the audience to get to know the undeservedly forgotten songs.
With impressive creativity and cultured intuition she creates the programs for her customized recitals called
“A Solo Recital”.
Invited to Brussels by Martin Schultz, President of the European Parliament to inaugurate the Exhibition: Italians Works of Art as part of the Celebrations for the Italian Presidency of the Council of Europe.
The recording of her most recent A Solo Recital: “the Hidden Compwriters” is in prepration: in this concert she chooses to celebrate some of the songs composed by great writers and philosophers also great and "undiscovered composers": Garcia Lorca, Nietsche, Rousseau, Bowles, Joyce, Pasternak, which left the public with a notable amazement in terms of elegance, refinement and genius of musical and textual solutions, splendidly combined.
For the Roman exhibition “Concerti e Palazzi”, she performed in the rooms of the Museum of Arts and Popular Traditions in her A Solo Recital dedicated to the music of the twentieth century French and Italian and Spanish, in homage to the venue chosen for her performance, and for the Associazione Scarlatti in Naples, her A Solo Recital: "the 19th century in the Musical Salon of Europe", with pieces from Beethoven to Bizet, from Rachmaninov to Schubert from Rossini to Donizetti.
In Istanbul, invited by the Italian Consul, she held her A Solo Recital: “Invitation au voyage” with music by Ravel, Granados, de Falla, Chapì, Turina, at the Mesrutiyet Theatre.
For the celebrations of the Verdi-Wagner Bicentenary she focuses her A Solo Recital on the Wesendonk Lieder and chamber arias by Verdi, in the prestigious Tuscan setting of the Accademia Musicale Italiana.
She also inaugurated the 250th Mozart celebrations at the Teatro della Reggia di Caserta in the presence of the Italian President Carlo Azeglio Ciampi with l’Obbligo del Primo Comandamento K35 by Mozart (Piemontese - De Simone).
Confirming the versatility of her repertoire, she debuted in the role of Dimitri in Giordano's Fedora and Turnspit in Dvořák's Rusalka (Fiore/Schweighofler), at the San Carlo in Naples (Fisch-Pugelli),
roles for which she both public and critics acclaimed her a splendid success, once again proving herself to be an excellent performer and actress en travesti, where her peculiar vocal agility and youthful appearance blends with a fresh and passionate interpretation.
The director, producer and author Bruno Fiengo chooses her as the protagonist of his short film “Bagatelle” where she shows her talent as a spontaneous expressive and intense actress, acting in a role of a modern-day Diana the huntress, and playing the Bagatelle op.19 n.9 by Beethoven live at the piano, with the serene ease of a multifaceted artist.
She is among the soloists of the latest edition of Mozart's Requiem at the San Carlo in Naples, under the conduction of Hansjorg Albrecht. She made his debut in Gluck's Armide at the NDO Nederlandese Oper in Amsterdam under the baton of Ivor Bolton and the intense and innovative direction of Barrie Kosky.
Immediately after her Ivor Bolton invites her again, as the only Italian artist in a cast of English specialists, to play the role of Queen of Sheba at the RAI in Turin, in Solomon by Handel, broadcast on the international radio schedule; a role full of nuances and daring fascinations, crowned by the splendid aria with oboe obliged “Will the Sun Forget to Streak”, one of the best known and loved songs in the Handelian repertoire. A flattering confirmation for Ermolli who, interviewed live on Radio TRE, defined it as “one of the most intense and exciting
musical moments from my career”.
Her most recent engagements have been seen in Bach's Magnificat at the Teatro Petruzzelli in Bari under the lead of Daniele Rustioni.
Her debut in the role of Nina in Nina ossia la Pazza per Amore by Paisiello at the Royal Palace in Caserta has enjoyed particular success with the public and critics, continuously confirming her excellence as an interpreter and actress, also in roles where singing alternates with prose acting, such as is required by the intensive Paisiello's score.
Previously performed, of the Teatro di San Carlo di Napoli, in the “Era de Maggio” symphonic concert with music by Roberto de Simone to the texts by Salvatore di Giacomo, and "Die Erste Walpurgisnacht” by Mendelsshon directed by M. Ozbic.
She began studying singing at a very young age under the guidance of Fedora Barbieri, with whom she had laid the foundations of a solid vocal technique and immediately defined her repertoire, which she continues to interpret to this day;
subsequently integrating her studies with Alfredo Kraus (Siena Accademia Chigiana & Santander Reina Sophia) Paolo Montarsolo (Roma Teatro delle Salette) Margaret Baker (Roma Santa Cecilia) Nigel Rogers (Basel Musik Akademie, Lorraine Nubar (Nice Académie Internationale & Julliard School of Music in New York) Alain Billard (Ferrara Friends of Music G. Frescobaldi)
Since her debut she has collaborated with Antonio Florio and the Cappella dè Turchini with whom she debuted at the Teatro Massimo of Palermo in the "la Colomba Ferita" and "lo Schiavo di sua Moglie" by Provenzale.
Her collaboration with Florio would turn into a long term involvement, full of important rediscoveries in that very rich repertoire in which this Ensemble has always distinguished itself and in the roles it plays, that seem written for her vocality and brilliant temperament.
Among the most recent performances are : Filindo in "la Finta Cameriera" di Latilla, (CD Opus 111- Florio/Galland) flagship title of the Opéra season in Ile de France which delighted the main French scenes with a long tour starting from the renowned Baroque Music Center at the gates of Paris: the Abbaye de Royaumont, towards the Theaters of Besançon, Lille, Clermont Ferrand, Rennes, Paris, then to Naples, in the prestigious setting of the Teatro di Palazzo Reale; Elisa in Leo's "Alidoro" (CD &DVD Dynamic) Choc musique and fff de télérama award, live CD recording, DVD from the Teatro Valli of Reggio Emilia, Marioletta in “il Pulcinella Vendicato” by Paisiello at the Covarrubias Theater in Mexico City and at the Cuyàs Theater in Las Palmas (Florio/ Livermore), Maria Maddalena at the Lecce Baroque Festival in "La Passione" by Provenzale
Meanwhile her career is establishing itself with the victory at the A.S.L.I.C.O. International Competition “Monteverdi Project” during which he was able to tackle the most important operatic titles and madrigals by the great Cremonese as part of the Monteverdian celebrations in Cremona, directed by Roberto Gini (CD Amadeus: “Selva Morale et Spirituale”) Winner of the VII° Pistoia Competition for the role of Rosina in "il Barbiere di Siviglia", a role very congenial to her in terms of vocality and temperament, she made her debut at the Teatro dè Ramminati in Lucca and at the Moderno in Pistoia under the lead of Herbert Handt and subsequently at the Auditorium Rai di Napoli conducted by Francesco d'Ovidio and at the Teatro Moderno di Grosseto conducted by Giuseppe Garbarino.
Since her beginnings, the Barbiere di Siviglia e has been an essential title for her; in fact before her debut as Rosina she debuted in the role of Berta, at the Teatro di San Carlo in Naples directed by Gabriele Ferro in the famous Crivelli/Squarciapino production.
We remember another brilliant Rossini debut, in “la Cambiale di Matrimonio” as vigorous and sexy Clarina, within the prestigious and particular setting of the “Festival Rossini in Wildbad”. It follows the publication of the record and video recording for the label Naxos.
She is among the protagonists of Roberto De Simone's latest show: "Là ci darem la mano - Mozart's Disguise" premiered at the Teatro di Corte in Caserta, then at the Teatro Mercadante in Naples, at the Teatro Quirino and at the Auditorium Parco della Musica in Rome, as well as
“Lo Vommaro a Duello”, premiered at the Teatro Bellini in Naples for the Teatro Festival Italia (Roberto de Simone/Renato Piemontese); show that arises from the fusion of comedy by Pasquale Storace, the Vommaro, from 1742 and the Duello Comico, a farce set to music by Giovanni Paisiello of 1774.
The natural evolution of her vocality leads her to successfully tackle the main Mozart roles: after attending the “Mozart Opera Workshop” at the music school of Fiesole, Claudio Desderi chooses her among the protagonists of the Mozart productions that from that moment come to life:
“ la Finta Giardiniera” (Ramiro) “Così fan tutte”, (Dorabella), “le Nozze di Figaro” (Marcellina) at the Teatro Borgatti in Cento, at the Teatro Diego Fabbri in Forlì and at the Teatro Municipal Isabel la Catolica of Granada, and for the inauguration of the Teatro Gesualdo da Venosa of Avellino.
All of his productions were directed in collaboration with the well-known Spanish director Josè Carlos Plaza.
She then debuted in one of the roles dearest to her hear: Cherubino, directed by Antonello Allemandi in "le Nozze di Figaro” and Annio in “La Clemenza di Tito” directed by Giovanni di Stefano at the Teatro Borgatti of Cento and at the Teatro Magnani of Fidenza, a role that she later resumed in memorable installation which inaugurated the grand reopening of the Teatro di San Carlo in Naples conducted by Jeffrey Tate, directed by Luca Ronconi and the
splendid costumes by Emanuel Ungaro.
Naples, her hometown, has provided her with well-deserved attention from the early days, and assured her with a constant presence on the scenes; despite the motto “Nemo Profeta in Patria" Ermolli was one!
Ever since she sang frequently in the main temples of music in the Neapolitan capital and its region: Napoli Auditorium della RAI: Rossini Barbiere di Siviglia. Napoli Teatro di Corte: Mozart “In viaggio verso Praga”, la Finta Cameriera. Napoli Castel Sant’Elmo: Vivaldi Giuditta. Caserta Teatro di Corte : Mozart l’Obbligo del primo Comandamento, Là ci darem la Mano, Jommelli Miserere, Latilla la Finta Cameriera. Baia Castello Aragonese: Festival di Musica Antica. Avellino Teatro Carlo Gesualdo: le Nozze di Figaro, Là ci darem la mano. Napoli Teatro Mercadante: Latilla la Finta Cameriera, Leo Alidoro. Napoli Teatro Bellini : lo Vommaro a Duello, Ercolano, Villa campolieto: Là ci darem la mano. Napoli Villa Pignatelli : VI° Rassegna di Musica d’Insieme : Jommelli Didone Abbandonata. Napoli San Paolo Maggiore: Scarlatti Messa di Santa Cecilia. Napoli Centro di Musica Antica: l’Ape Musicale, Rossini Volatine et Roulades della Primadonna. Palazzo Carafa di Maddaloni: Rossini & Colbran . Napoli
Basilica di San Giovanni Maggiore: Jommelli Miserere, Vivaldi Gloria, Vivaldi Magnificat, Saint Saens Oratoire de Noel. Napoli Teatro di San Carlo: Rossini Barbiere di Siviglia, Puccini Suor Angelica, Provenzale la Colomba Ferita, Mendelsshon Walpurgisnacht, Mozart la Clemenza di Tito, Dvorak Rusalka, Mozart Requiem, Di Giacomo De Simone Era de maggio, Janacek Katja Kabanova.
She is particularly active in the world of Ancient and Baroque Music, collaborating with Rinaldo Alessandrini and il Concerto Italiano: Paris, Cosenza and Colmar: il “Combattimento di Tancredi e Clorinda” and “Ballo delle Ingrate” by Monteverdi subsequently recorded for OPUS 111, therefore in Rome, Palazzo Altemps: la Contesa dei Numi by Vinci, with the Aìron Choir Consort conducted by Giulio Prandi at the Collegio Ghislieri in Pavia: “Missa Dolorosa" of Caldara with the Accademia Bizantina conducted by Carlo Chiarappa: “Stabat Mater” by Pergolesi with Marco Mencoboni at the Sala Verdi in Milan for "Tirsi morir volea" a concert of arias and amorous madrigals of the early seventeenth century, with Matteo Messori for Heinrich Schutz's Madrigals recorded for BRILLIANT
with Claudio Cavina and his Ensemble la Venexiana and a CD entirely dedicated to Barbara Strozzi recorded for CANTUS RECORDS. On the occasion of the "VI° Baroque Festival" and the Luca Giordano exhibition, she give life to an interesting portrait of the biblical heroine Juditha, with excerpts from Vivaldi's Juditha Triumphans and from Giuditta by A. Scarlatti, at Castel S.Elmo in Naples, accompanied by the Nuova Orchestra Scarlatti conducted by G. Russo.
With the Quartetto Italiano she inaugurated the Associazione Scarlatti in Naples Baroque Music Festival with the world premiere of Jommelli's cantata “Didone Abbandonata”, in magnificent painting from the Pignatelli Aragona Cortes Museum in Naples.
Another important debut she created as the protagonist in Handel's Serse (Serse) at the Quartz in Brest, then on tour in the main theaters of Bretagne and Normandy conducted by Jean Christophe Spinosi with his Ensemble Matheus, and with the same team at the Auditorium Nacional in Madrid in the Orlando Furioso by Vivaldi (Bradamante). Invited to Vienna by Christophe Rousset and Les Talens Lyriques she debuted at the Theater an der Wien in "la Calisto" di Cavalli as Giunone after giving voice to the Destino of the Prologue.
Her musical vocation is multifaceted, her passionate breadth of vision in her art makes her open to collaborating with talents from every artistic discipline;
In the literary field she is enthusiastic about offering her singing participation in the presentation of the book by the poet, activist and writer Joumana Haddad published in Italy by Feltrinelli: “Superman is Arab”, personally called by the author, to support her with her vocal artistic proposal of her emancipation, through those figures of the work that have affirmed themselves most of all the right to autonomy and freedom of their femininity and beauty, never again enslaved and exploited by society or by a pre-established role imposed from outside. then as now, heritage to defend: Italiana in Algeri, Carmen, Giunone, Despina, Sapho.
So in the field of Contemporary Art and Visual Art, where she initiated at a refined exhibition of the painter and sculptor Ettore Spalletti at the Saloni dello Studio Trisorio in Naples.
Under her "suspended sculpture" in black Belgian marble painted by a rarefied blue sky, Ermolli offered visitors an infinite concert for the entire duration of the event, singing a cappella without interruption, dressed by the sculptor himself in shiny black silk with a long train and posed under the large celestial disk of the sculpture, impersonating the voice of the sculpture itself in a suggestive evocation.
She is in contact with the painter Pier Toffoletti to illuminate the Fearless exhibition with her voice with a recital dedicated to women, immortalized by him on canvas as the new and perennial heroines of our time.
She has recorded for France2, Opus111, Giulia, Brilliant, Amadeus, Naxos, Radio Tre Rai, Rai di Torino.