Roberta Invernizzi is probably the more prominent Italian sopranos of her era. She has specific in single, choral, and operatic repertory from your Renaissance period up through the 18th hundred years, though she’s divulged a determined choice for Baroque functions. Her repertory therefore includes a wide range of functions by J.S. Bach, Handel, Purcell, Monteverdi, Vivaldi, Scarlatti, Piccinni, and many more. She’s performed in collaboration with a number of the leading conductors of Baroque and early music, including Nikolaus Harnoncourt, Gustav Leonhardt, Lot Koopman, Jordi Savall, and Andrew Bird, and with several early music ensembles like Il Giardino Armonico, Il Concerto Italiano, and La Cappella de la Piet? dei Turchini. Invernizzi offers made a lot more than 60 recordings on a number of brands, including EMI, Sony Classical, Naxos, Virgin, Bongiovanni, Opus 111, while others. Roberta Invernizzi was created in Milan, Italy, in 1966. As a kid she analyzed the odd mix of piano and dual bass, before concentrating on tone of voice lessons. Her most significant teacher — aswell as coach — was Margaret Heyward (in Milan). She later on traveled to Britain for research with renowned soprano Emma Kirkby. By the first ’90s Invernizzi was an extremely wanted soprano in Italy, having produced successful looks in Rome, Naples, Milan, and somewhere else in the united states. Around this period, too, her first recordings were bringing in essential acclaim, among that was the 1994 Bongiovanni launch of the hardly ever noticed Stradella opera Il Moro per Amore, where she sang the part of Eurinda. Invernizzi’s name quickly accrued international popularity with appearances in the Salzburg Event (Handel’s Acis and Galatea), in Paris (Piccinni’s Didone abbandonata), in NY (with the brand new York Collegium in the ensemble’s inaugural concert, on invitation from conductor Gustav Leonhardt), Berlin, Prague, London, LA, and other main locations. In 1997 Invernizzi started teaching tone of voice at Centro di Musica Antica in Naples, the town she ultimately relocated to. In the first 2000s she made an appearance on the spate of main recordings, like the 2002 work on EMI of Handel’s Rodrigo as well as the 2004 discharge of Monteverdi’s Vespro della beata vergine over the Opus 111 label. Among Invernizzi’s even more operatic triumphs was her portrayal of Armida in Handel’s Rinaldo through the 2005-2006 period at Milan’s famed Teatro alla Scala. Her afterwards recordings are the 2006 Glossa discharge of Handel’s Le Cantate per il Cardinal Pamphili, 2009’s Haydn Oratorios, and 2011’s Handel in Italy.