Laura Verrecchia

You have to go to competitions with the right spirit: test yourself, learn also from the others & you have to go very well prepared. Competitions are very important to make yourself known.


by Alice Lechner
February 10, 2022
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Italian mezzo-soprano Laura Verrecchia, winner of numerous international opera competitions, graduated from the “Luigi Cherubini” Music Conservatory in Florence. She debuted as Rosina in Il Barbiere di Siviglia at the Goldoni Theater in Livorno. Her most important operatic appearances included her Glyndebourne debut as Rosina from Il Barbiere di Siviglia, Nicklausse (Les Contes d’Hoffman) at Teatro San Carlo, Suzuki (Madama Butterfly) at Teatro Verdi Trieste.
In a conversation with Alice Lechner, Laura talks about her experience at Teatro all Scala in Il Turco in Italia under the direction of M°Diego Fasolis, alongside Rosa Feola and Erwin Schrott, about the production of Madama Butterfly at Maggio Musicale Fiorentino under the direction of M°Francesco Ivan Ciampa, in a production signed by Chiara Muti, about her repertoire, about her first encounter with opera, about her passions and last, but not least, about her new projects.


Laura Verrecchia begins her musical training by studying the piano at the age of 8. She obtained the singing diploma in 2013 and the second-level degree with honours and honourable mention at the “Luigi Cherubini” music conservatory in Florence in 2015, under the guidance of soprano Donatella Debolini.
She is the winner of numerous international opera competitions, including second prize at the 15th Spiros Argiris International Competition in Sarzana, first prize and Bellini’s prize at the IVth Marcello Giordani International Competition ed. Europe, first prize at the International Competition of Canto Opera de Tenerife, third prize at the Riccardo Zandonai International Competition and first prize and Toulon prize at the 15th Ottavio Ziino Competition in Roma.
Laura attended masterclasses with Enzo Dara, Katia Ricciarelli, Daniela Dessì, Eva Marton and Rockwell Blake. She has collaborated with conductors such as Fabio Luisi, Pinchas Steinberg, George Petrou, Alessandro D’Agostini, Min Chung, Gustav Kuhn, Frédéric Chasin, Jurai Valčuha, Diego Fasolis, John Axelrod and directors such as Damiano Michieletto, Roberto Andò, David McVicar, Alberto Triola, Gianni Quaranta, Calixto Bieito, Gean-Louis Grinda.
Laura made her debut in 2015 with the role of Rosina in Il Barbiere di Siviglia at the Goldoni theatre in Livorno and in the theatres of the Tuscan circuit with the Opera Studio LTL project, a role she will sing at the Opera di Firenze, Glyndebourne, Teatro La Fenice in Venice, Savonlinna Opera Festival. Among her roles interpreted at the Opera di Firenze: are Lady Pamela in Auber’s “Fra Diavolo”, Siebel in Gounod’s Faust, and Angelina in La Cenerentola. In the theatres of Opera Lombardia (AsLiCo), she played Lucilla in La Scala di Seta by Rossini, and in 2016, she was Rinaldo by Händel at the Ópera de Tenerife.
Laura sang the role of Dejanira in Martinú’s Mirandolina and Mercedés in Carmen at the Teatro La Fenice in Venice. She was Isabella of L’Italiana in Algeri at the Operá de Toulon and the Verdi Theater in Trieste. She attended the “Alberto Zedda” Rossiniana Academy in Pesaro, where she sang the Marchesa Melibea role in Il viaggio a Reims. Laura sang the role of Nicklausse in Les Contes d'Hoffmann - Teatro San Carlo in Naples, Lucilla in La scala di seta - Royal Opera House Muscat, Suzuki in Madama Butterfly -Teatro Verdi Trieste, Isoletta in La Straniera - Opera di Firenze.
Recent engagements include Il Barbiere di Siviglia - Savonlinna Opera Festival, Der Kaiser von Atlantis - Opera de Tenerife, Il Barbiere di Siviglia - La Fenice di Venezia, Il Turco in Italia - Teatro alla Scala di Milano, Madama Butterfly - Teatro del Maggio Musicale Fiorentino and la Cenerentola - Teatro Carlo Felice di Genova.

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Hello, Laura! I’m glad that I have the opportunity to chat with you! Recently, we had the chance to see you at Teatro alla Scala in Il Turco in Italia under the direction of M°Diego Fasolis, alongside Rosa Feola as Donna Fiorilla and Erwin Schrott as Selim. How did you feel stepping on a stage […]

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Alice Lechner

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.


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