Born in Vic she graduated in Fine Arts at UB and she also got Singing Superior Title from Conservatori del Liceu being her teachers Joan Ferrer Serra and later Maria Dolors Aldea; she was awarded in several lyrical competitions (Mirabent i Magrans, Mirna Lacambra, Germans Plà, among others).
She began her professional career with Amics de l'Òpera de Sabadell and its Òpera a Catalunya circuit, wining Mirna Lacambra contest that allowed her to access the entity's Escola d'Òpera for singing the part of Dorabella in Così fan tutte by Wolfgang Amadeus Mozart. Her career with this entity has been intense and fruitful, assuming a wide range of characters -as testimony to her progression and versatility- from such different composers as Verdi, Rossini, Bellini, Mozart, Offenbach, Gluck, Gounod or Bizet; there she has debuted with the unanimous recognition of critics and audience several fundamental roles of her mezzo vocality such as Eboli, Isabella, Carmen, Adalgisa, Orfeo and Amneris -especially this last part, sung in various productions which always have given her great satisfactions.
Her versatility and artistic growth have allowed her to play an extensive operatic repertoire ranging from the classicism of Wolfgang Amadeus Mozart (Dorabella in Così fan tutte and Third Lady in Die Zauberflöte), Christoph Willibald Gluck (Orfeo in Orfeo ed Euridice) or Domenico Cimarosa (Fidalma in Il matrimonio segreto), nineteenth-century belcanto of Vincenzo Bellini and Gaetano Donizetti, with a special predilection for the great roles of 'mezzo acuto' such as Adalgisa (Norma), Leonora (La favorita), Sara (Roberto Devereux), Elisabetta (Maria Stuarda), Giovanna Seymour (Anna Bolena) or Enrichetta (I puritani) and some forays into Rossinian repertoire with Isabella (L'italiana in Algeri) and Zaida (Il turco in Italia). Her recent aproaches to Verdi repertoire are also very noteworthy, playing roles such as Princess of Eboli (Don Carlo), Amneris (Aida), Azucena (Il trovatore), Fenena (Nabucco), Maddalena (Rigoletto), Flora (La traviata) or Meg Page (Falstaff). Other steps in her promenade around Italian repertoire include Giacomo Puccini (Suzuki in Madama Butterfly) or the verismo of Pietro Mascagni (Lola in Cavalleria rusticana). As for French Opera she has performed Carmen in different productions in Georges Bizet's opera under same name, La voix de la mère in Jacques Offenbach's Les contes d'Hoffmann and Gertrude in Charles Gounod's Romeo et Juliette; in German repertoire First servant (Elektra) by Richard Strauss and Orlofsky (Die Fledermaus -Viennesse operetta-) by Johann Strauss jr.; in Spanish zarzuela Señá Rita in La verbena de la Paloma by Tomás Bretón; in contemporany creation she played the role of Magda in Ramón Ribé's Magda -in its absolute premiere in 2015- and very soon she will be the character of Sombra in El abrecartas by Luis de Pablo -world premiere at Teatro Real in 2022.
Laura's presence is usual in Spanish stages: Gran Teatre del Liceu (La traviata, Les contes d'Hoffmann, Rigoletto, Cendrillon), Teatro Real (Moses und Aron and soon El abrecartas), Teatro Campoamor de Oviedo (Il turco in Italia, I puritani), Teatro Colón de A Coruña -Amigos de la Ópera de A Coruña-(La verbena de la Paloma), Teatre Principal de Palma (Cavalleria rusticana), Auditorio Nacional de Música (Aida, Elektra, Verdi's Requiem), Festival de Peralada (La traviata), Festival d'Òpera d'Eivissa (Madama Butterfly, Falstaff, Die Fledermaus), Auditori del Camp de Mart de Tarragona (Rigoletto), Festival Lírico de Medinaceli (Il trovatore) -her latest debut- and she recently starred with success La favorita at Teatro Cervantes in Málaga.
Her international career has led her to play Carmen gypsy in Bizet's opera in China (Nanjing and Shangai; stage production signed by Emilio Sagi) on the occasion of the opening of Jiangsu Grand Theater, and Maddalena (Rigoletto) at Zomeropera Festival in Belgium. She also collaborated with Orquestra Sinfónica de Cascais (Portugal) in the Auditorium of this city in an operatic recital.
Regarding oratorio repertoire the mezzosoprano/alt soloist part of Giuseppe Verdi's Messa da Requiem stands out, which she already sang at Auditorio Nacional de Música in Madrid and soon it will be performed again at Palau de la Música Catalana together with the Orquestra Simfònica del Vallès. On various occasions she has sung Mozart's Requiem in places such as the auditoriums of Murcia and Cartagena or Basílica de Santa Maria del Mar in Barcelona; also Stabat Mater by Giovanni Battista Pergolesi, Magnificat and St.John Passion -both works by Johann Sebastian Bach-, Gloria by Antonio Vivaldi and Requiem by Maurice Duruflé in L'Auditori de Barcelona.
Due to this interesting and strong career she has collaborated with renowned orchestral conductors such as Riccardo Frizza, Sir Andrew Davis, Elio Orciuolo, Daniel Gil de Tejada, Speranza Scappucci, Lothar Koenigs, Virginia Martínez, Rubén Gimeno, Óliver Díaz, Enrico Delamboye, Cristóbal Soler, Thomas Sanderling, Santiago Serrate, David Afkham or Antonello Allemandi, and régisseurs such as Emilio Sagi, Laurent Pelly or David McVicar, among others.
Date of last modification:O ctober 2021
It cannot be altered without permission. Please destroy any previous biographical material.
She began her professional career with Amics de l'Òpera de Sabadell and its Òpera a Catalunya circuit, wining Mirna Lacambra contest that allowed her to access the entity's Escola d'Òpera for singing the part of Dorabella in Così fan tutte by Wolfgang Amadeus Mozart. Her career with this entity has been intense and fruitful, assuming a wide range of characters -as testimony to her progression and versatility- from such different composers as Verdi, Rossini, Bellini, Mozart, Offenbach, Gluck, Gounod or Bizet; there she has debuted with the unanimous recognition of critics and audience several fundamental roles of her mezzo vocality such as Eboli, Isabella, Carmen, Adalgisa, Orfeo and Amneris -especially this last part, sung in various productions which always have given her great satisfactions.
Her versatility and artistic growth have allowed her to play an extensive operatic repertoire ranging from the classicism of Wolfgang Amadeus Mozart (Dorabella in Così fan tutte and Third Lady in Die Zauberflöte), Christoph Willibald Gluck (Orfeo in Orfeo ed Euridice) or Domenico Cimarosa (Fidalma in Il matrimonio segreto), nineteenth-century belcanto of Vincenzo Bellini and Gaetano Donizetti, with a special predilection for the great roles of 'mezzo acuto' such as Adalgisa (Norma), Leonora (La favorita), Sara (Roberto Devereux), Elisabetta (Maria Stuarda), Giovanna Seymour (Anna Bolena) or Enrichetta (I puritani) and some forays into Rossinian repertoire with Isabella (L'italiana in Algeri) and Zaida (Il turco in Italia). Her recent aproaches to Verdi repertoire are also very noteworthy, playing roles such as Princess of Eboli (Don Carlo), Amneris (Aida), Azucena (Il trovatore), Fenena (Nabucco), Maddalena (Rigoletto), Flora (La traviata) or Meg Page (Falstaff). Other steps in her promenade around Italian repertoire include Giacomo Puccini (Suzuki in Madama Butterfly) or the verismo of Pietro Mascagni (Lola in Cavalleria rusticana). As for French Opera she has performed Carmen in different productions in Georges Bizet's opera under same name, La voix de la mère in Jacques Offenbach's Les contes d'Hoffmann and Gertrude in Charles Gounod's Romeo et Juliette; in German repertoire First servant (Elektra) by Richard Strauss and Orlofsky (Die Fledermaus -Viennesse operetta-) by Johann Strauss jr.; in Spanish zarzuela Señá Rita in La verbena de la Paloma by Tomás Bretón; in contemporany creation she played the role of Magda in Ramón Ribé's Magda -in its absolute premiere in 2015- and very soon she will be the character of Sombra in El abrecartas by Luis de Pablo -world premiere at Teatro Real in 2022.
Laura's presence is usual in Spanish stages: Gran Teatre del Liceu (La traviata, Les contes d'Hoffmann, Rigoletto, Cendrillon), Teatro Real (Moses und Aron and soon El abrecartas), Teatro Campoamor de Oviedo (Il turco in Italia, I puritani), Teatro Colón de A Coruña -Amigos de la Ópera de A Coruña-(La verbena de la Paloma), Teatre Principal de Palma (Cavalleria rusticana), Auditorio Nacional de Música (Aida, Elektra, Verdi's Requiem), Festival de Peralada (La traviata), Festival d'Òpera d'Eivissa (Madama Butterfly, Falstaff, Die Fledermaus), Auditori del Camp de Mart de Tarragona (Rigoletto), Festival Lírico de Medinaceli (Il trovatore) -her latest debut- and she recently starred with success La favorita at Teatro Cervantes in Málaga.
Her international career has led her to play Carmen gypsy in Bizet's opera in China (Nanjing and Shangai; stage production signed by Emilio Sagi) on the occasion of the opening of Jiangsu Grand Theater, and Maddalena (Rigoletto) at Zomeropera Festival in Belgium. She also collaborated with Orquestra Sinfónica de Cascais (Portugal) in the Auditorium of this city in an operatic recital.
Regarding oratorio repertoire the mezzosoprano/alt soloist part of Giuseppe Verdi's Messa da Requiem stands out, which she already sang at Auditorio Nacional de Música in Madrid and soon it will be performed again at Palau de la Música Catalana together with the Orquestra Simfònica del Vallès. On various occasions she has sung Mozart's Requiem in places such as the auditoriums of Murcia and Cartagena or Basílica de Santa Maria del Mar in Barcelona; also Stabat Mater by Giovanni Battista Pergolesi, Magnificat and St.John Passion -both works by Johann Sebastian Bach-, Gloria by Antonio Vivaldi and Requiem by Maurice Duruflé in L'Auditori de Barcelona.
Due to this interesting and strong career she has collaborated with renowned orchestral conductors such as Riccardo Frizza, Sir Andrew Davis, Elio Orciuolo, Daniel Gil de Tejada, Speranza Scappucci, Lothar Koenigs, Virginia Martínez, Rubén Gimeno, Óliver Díaz, Enrico Delamboye, Cristóbal Soler, Thomas Sanderling, Santiago Serrate, David Afkham or Antonello Allemandi, and régisseurs such as Emilio Sagi, Laurent Pelly or David McVicar, among others.
Date of last modification:O ctober 2021
It cannot be altered without permission. Please destroy any previous biographical material.
2021-2022 Performances
LA MERCÈ EN LA OBC
24 September 2021 20:45 Parc Central de Nou Barris, Barcelona
RIGOLETTO
28 November 2021 17:00 Gran Teatre del Liceu, Barcelona
30 November 2021 19:00 Gran Teatre del Liceu, Barcelona
01 December 2021 19:00 Gran Teatre del Liceu, Barcelona
02 December 2021 19:00 Gran Teatre del Liceu, Barcelona
03 December 2021 19:00 Gran Teatre del Liceu, Barcelona
05 December 2021 18:00 Gran Teatre del Liceu, Barcelona
09 December 2021 19:00 Gran Teatre del Liceu, Barcelona
10 December 2021 19:00 Gran Teatre del Liceu, Barcelona
12 December 2021 18:00 Gran Teatre del Liceu, Barcelona
13 December 2021 19:00 Gran Teatre del Liceu, Barcelona
14 December 2021 19:00 Gran Teatre del Liceu, Barcelona
17 December 2021 19:00 Gran Teatre del Liceu, Barcelona
18 December 2021 19:00 Gran Teatre del Liceu, Barcelona
19 December 2021 18:00 Gran Teatre del Liceu, Barcelona
EL ABRECARTAS
16 February 2022 19:30 Teatro Real, Madrid
18 February 2022 19:30 Teatro Real, Madrid
20 February 2022 18:00 Teatro Real, Madrid
22 February 2022 19:30 Teatro Real, Madrid
24 February 2022 19:30 Teatro Real, Madrid
26 February 022 19:30 Teatro Real, Madrid
24 September 2021 20:45 Parc Central de Nou Barris, Barcelona
RIGOLETTO
28 November 2021 17:00 Gran Teatre del Liceu, Barcelona
30 November 2021 19:00 Gran Teatre del Liceu, Barcelona
01 December 2021 19:00 Gran Teatre del Liceu, Barcelona
02 December 2021 19:00 Gran Teatre del Liceu, Barcelona
03 December 2021 19:00 Gran Teatre del Liceu, Barcelona
05 December 2021 18:00 Gran Teatre del Liceu, Barcelona
09 December 2021 19:00 Gran Teatre del Liceu, Barcelona
10 December 2021 19:00 Gran Teatre del Liceu, Barcelona
12 December 2021 18:00 Gran Teatre del Liceu, Barcelona
13 December 2021 19:00 Gran Teatre del Liceu, Barcelona
14 December 2021 19:00 Gran Teatre del Liceu, Barcelona
17 December 2021 19:00 Gran Teatre del Liceu, Barcelona
18 December 2021 19:00 Gran Teatre del Liceu, Barcelona
19 December 2021 18:00 Gran Teatre del Liceu, Barcelona
EL ABRECARTAS
16 February 2022 19:30 Teatro Real, Madrid
18 February 2022 19:30 Teatro Real, Madrid
20 February 2022 18:00 Teatro Real, Madrid
22 February 2022 19:30 Teatro Real, Madrid
24 February 2022 19:30 Teatro Real, Madrid
26 February 022 19:30 Teatro Real, Madrid
Gallery
Multimedia
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Aida
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Aida
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Reviews
AIDA. Sabadell. 2021
"Spectacular Laura Vila in the role of Amneris, ..." Montserrat Rius
"As nine years ago, Laura Vila revealed herself as a vocally powerful Amneris, convincing, very detailed and with an evident stylistic evolution, gaining in poise and intensity in the suffering of the fourth act, after an equally praiseworthy duet with Aida and standing out in the concertante of the second act. "Albert Ferrer Flamarich (Codalario)
"As far as the soloist performance is concerned, although she is not the recognised protagonist of the opera, I would like to highlight first and foremost the mezzo-soprano Laura Vila in the role of Amneris. Amneris is the character in this work by Verdi who probably develops and evolves most profoundly, an empowered character who questions the dichotomy between the good and the evil. A role of complexity that is masterfully interpreted and defended by Laura Vila, with a voice that tends to be light, with magnificent timbre and technique, rich in harmonics and excellent interpretation". Martí Sancliment (Revista Musicale Cat)
"It is rare outside the elite theatres to see a leading couple that does justice to Aida. But it didn't end there. Laura Vila enjoyed and made us enjoy this Cruella de Vil of the lower Nile that is Amneris and seemed to feel very confident in the part". Joan Sebastià Colomer (Platea Magazine)
"Who excelled above all others was the mezzo-soprano Laura Vila, a splendid Amneris with all the nuances of a character as charismatic as she is fascinating. Without being a dramatic mezzo, Vila plays the intelligence card at the service of Amneris, with charismatic stage presence and excellent performances in the duets and concerts of the first two acts. But it was the two scenes in the fourth (first with Radamès and then in front of the priests) that confirmed what we already knew: Laura Vila is a truly extraordinary artist". Jaume Radigales (Ara)
"As nine years ago, Laura Vila revealed herself as a vocally powerful Amneris, convincing, very detailed and with an evident stylistic evolution, gaining in poise and intensity in the suffering of the fourth act, after an equally praiseworthy duet with Aida and standing out in the concertante of the second act. "Albert Ferrer Flamarich (Codalario)
"As far as the soloist performance is concerned, although she is not the recognised protagonist of the opera, I would like to highlight first and foremost the mezzo-soprano Laura Vila in the role of Amneris. Amneris is the character in this work by Verdi who probably develops and evolves most profoundly, an empowered character who questions the dichotomy between the good and the evil. A role of complexity that is masterfully interpreted and defended by Laura Vila, with a voice that tends to be light, with magnificent timbre and technique, rich in harmonics and excellent interpretation". Martí Sancliment (Revista Musicale Cat)
"It is rare outside the elite theatres to see a leading couple that does justice to Aida. But it didn't end there. Laura Vila enjoyed and made us enjoy this Cruella de Vil of the lower Nile that is Amneris and seemed to feel very confident in the part". Joan Sebastià Colomer (Platea Magazine)
"Who excelled above all others was the mezzo-soprano Laura Vila, a splendid Amneris with all the nuances of a character as charismatic as she is fascinating. Without being a dramatic mezzo, Vila plays the intelligence card at the service of Amneris, with charismatic stage presence and excellent performances in the duets and concerts of the first two acts. But it was the two scenes in the fourth (first with Radamès and then in front of the priests) that confirmed what we already knew: Laura Vila is a truly extraordinary artist". Jaume Radigales (Ara)
CARMEN. 2017
"In the cast, the protagonism of Laura Vila stood out, impeccable in the emission and superb in the accent in the fourth act" Marcelo Cervelló (Ópera Actual).
"The voice, full and solid, allowed her to shine in the different interventions of the character (...) Her tense death scene was also intense and spectacular, with a mixture of courage and conviction that left us in awe". Roger Alier (Platea Magazine)
"The voice, full and solid, allowed her to shine in the different interventions of the character (...) Her tense death scene was also intense and spectacular, with a mixture of courage and conviction that left us in awe". Roger Alier (Platea Magazine)
Don Carlo. 2017
"Laura Vila's Eboli, owner of a beautiful mezzo-soprano instrument, with attractive colour and resolute technique, capable of clearly recreating the agilities of the 'Canción del velo' as well as the impetuous singing of 'O don fatale'" Alejandro Martínez (Platea Magazine)
"We also found Laura Vila's creation of the evil Princess of Eboli to be sensational, sung with refined vocal nuances and a character psychology of great impact" Roger Alier (La Vanguardia)
"We also found Laura Vila's creation of the evil Princess of Eboli to be sensational, sung with refined vocal nuances and a character psychology of great impact" Roger Alier (La Vanguardia)
NORMA. 2016
"...a secure Adalgisa in all range and with an increasingly natural scenic performance...".(Codalario)