Anna Gabrieli, voice

Soprano Anna Gabrieli, born in Boston, trained in Milan, Italy with Caterina Basiola and Rosetta Noli. Her coaches were Enza Ferrari and La Scala Maestri Tommaso Jappelli and Franco Ferraris.

In 1968 she made her operatic debut n Rome as Gilda in “Rigoletto,” followed by Musetta in “La Boheme, Fiordiligi in “Cosi fan tutte” and Rosina in “Il barbiere di Siviglia.” Conductor Peter Maag engaged her for Konstanze in “Die Entfuehrung aus dem Serail” at La Fenice in Venice, which led to further performances of the role with the Offenbach Theater, Cologne, Germany. In Ulm, Germany, she sang the title roles in Kalman’s “Graefin Mariza” and von Flotow’s “Martha,” as well as the Komponist in “Ariadne auf Naxos.”

In 1972 Ms. Gabrieli made her Lincoln Center, New York, debut as Christine in Richard Strauss’ “Intermezzo.” She sang Donna Elvira to Justino Diaz’ Don Giovanni in Providence and the title roles in “Aida,” “Norma,” and  Poulenc’s “La Voix Humanine” with the Boston Lyric Opera. Ms. Gabrieli has appeared in concert and oratorio in the U.S., Italy, Spain, Belgium, and Germany. Her recordings include “Portrayals of Love in Italaian Song” and “Duetti da Camera di Giambattista Martini” with Orion Records, as well as Horatio Parker’s “Hora Novissima.”

Having completed two years at Harvard University before going to Italy, Ms. Gabrieli completed her B.M at the Manhattan School of Music in 1993 and her M.M. at the New England Conservatory in 1995.

Teaching Philosophy

“As the singer’s body is his/her instrument, singers are particularly vulnerable to fears, uncertainty and criticism. I believe it is essential, and certainly most efficacious, to create an environment of safety and trust. It is also important and most effective to make the process as simple as possible. The breath is the foundation of singing, and the simplicity, ease, and strength of the breath needs to be established at the beginning. Once that functions properly, along with the relaxation of the vocal mechanism, everything else can easily follow and many problems are automatically solved. Having studied in Italy and in the U.S., I realize that the American system tends to load on an enormous amount of detail before the student is ready to assimilate it either physically or intellectually, let alone to be able to retain it once the lesson is over. With vocal freedom and proper breath flow the singer’s confidence and competence is established and any musical or artistic demand can be satisfied.”

Email: anna.gabrieli(at)longy.edu