Graduated with honors at the Bellini Conservatory in Palermo, Marianna Pizzolato studied with Claudia Carbi. She took Lieder classes in Nuremberg with Rosemarie Cabaud and Werner Dormann. Throughout her carrier, she had collaborated with Raul Gimenez, with whom she studied in depth her major Rossini interpretations.
She made her operatic debut in 2002 singing the title role in Rossini’s Tancredi under the baton of Marco Zambelli.
Very much at ease with Rossini’s repertoire, Marianna Pizzolato debuted at the Rossini Opera Festival in Pesaro, in 2003, as Marchesa Melibea in Il viaggio a Reims; quickly becoming one of the main artists of the Festival, she was invited to several other editions in the following years. In Pesaro she performed again the title role in Tancredi; Isabella in L’Italiana in Algeri (directed by Dario Fo and conducted by Donato Renzetti); Andromaca in Ermione (directed by Daniele Abbado and conducted by Roberto Abbado); Emma in Zelmira opposite Juan Diego Florez; Angelina in La Cenerentola opposite Lawrence Brownlee and Rosina in Il barbiere di Siviglia.
Her inclination for Rossini allowed her to take part in acclaimed productions all over the world, such as La Cenerentola at the Welsh National Opera (Carlo Rizzi conducting) and in Paris (with Riccardo Frizza); Il barbiere di Siviglia in Bologna, Palermo (conducted by Daniele Gatti), Zurich, Liège (with Michele Mariotti), Naples (with Bruno Campanella); L’italiana in Algeri in Santiago del Chile, Bologna (conducted by Paolo Olmi), Liège (once again with Bruno Campanella), Naples, Paris, Palermo, Toulouse and recently at the Metropolitan Opera in New York, Paris (Théâtre des Champs Elisée) and Madrid; Il Viaggio a Reims in Florence, Moscow (under the baton of Tugan Sokhiev) and Bad Wildbad; Tancredi in Rome, Tokyo and Bremen (Ottavio Dantone conducting); Zelmira in Lyon; Semiramide in Bad Wildbad; Ermione in La Coruña; La donna del lago at the Santa Fe Opera (under the baton of Stephen Lord) and in Liège (with Michele Mariotti).
Highlights of her successful collaborations are: La Clemenza di Tito in Barcelona under the conduction of Sebastian Weigle; Mitridate Re di Ponto (Farnace) at the Welsh National Opera; Così Fan Tutte (Dorabella) produced by the Teatro San Carlo (Naples) and toured to Chile; Ascanio in Alba (title role) in Bologna (Ottavio Dantone conducting); Nabucco at the Covent Garden in London, opposite Placido Domingo and at the Gran Teatre del Liceu in Barcelona Daniele Abbado directing; Orphée et Euiridyce (v. Berlioz) at the Festival Berlioz; Gluck’s Orfeo ed Euridice in Palermo; Linda di Chamonix (Pierrotto) in London; Madama Butterfly (Suzuki) in Valencia; Lucrezia Borgia in Ancona, Las Palmas, Santiago del Chile and Liège; Maria Stuarda (Elisabetta) in Liège e Barcelona (Maurizio Benini conducting).
She regularly performs Baroque and 18th Century repertory, she has appeared in: Vivaldi’s La Rosmira Fedele (title role) with Ensemble Baroque de Nice; Vivaldi’s Orlando Furioso (Bradamante) with Ensemble Matheus/ Spinosi at the Ambronay Festival; Cavalli’s Gli Amori d’Apollo e Dafne and L’Incoronazione di Poppea at the Festival La Coruña under the baton of Alberto Zedda; Handel’s Serse with Les Arts Florissants/ Christie in Caen; Vivaldi’s Orlando Finto Pazzo (Brandimarte) with Accademia Montis Regalis/ De Marchi in Paris; Handel’s Fernando Re di Castiglia (Isabella) with Il Complesso Barocco/ Curtis in Lisbon and the Festival Dei Due Mondi in Spoleto; Scarlatti’s Il Giardino di Rose with Alan Curtis for the season opening night of the Accademia di Santa Cecilia in Rome; Il Ritorno di Ulisse in Patria at the Teatro alla Scala in Milan (Ericlea) with Rinaldo Alessandrini conducting and in Antwerp (Penelope) with Federico Maria Sardelli conducting.
In 2017 Marianna Pizzolato starred in the Monteverdi project conducted by John Eliot Gardiner, she took part at the worldwide tour performing Penelope in Il Ritorno di Ulisse in Patria and Ottavia in L’incoronazione di Poppea in Bristol, Venice, Salzburg, Edinburgh, Lucerne, Berlin, Paris, Chicago and New York.
Active and admired also on the concert side Ms. Pizzolato performed: Cherubini’s Missa Solemnis in Vienna, Florence, Paris, Munich and Toulouse and Mozart’s Vesperae Solemnes de Confessore in Ravenna, both under the baton of Riccardo Muti; Petite Messe Solennelle in Naples under Maurizio Benini and under Gianluigi Gelmetti in Palermo and then again in Lucerne and Moscow; Beethoven’s Ninth Symphony in Munich and Montecarlo; Rossini’s Stabat Mater in Florence, Palermo, Salzburg and Edinburgh (with Pappano), in Tanglewood (with Charles Dutoit), Turin; Pergolesi’s Stabat Mater in Dresden, Munich, at the Baden Baden Festspielhaus (with Anna Netrebko and conducted by Antonio Pappano), recorded for Universal Music; Mozart’s Requiem at Accademia Nazionale di Santa Cecilia in Rome again under Pappano and with the Kammerorchester Basel with Giovanni Antonini conducting; the debut of Verdi’s Requiem in Stavanger and then in Leipzig. She performed again the title in Turin with the Orchestra Sinfonica Nazionale della Rai under the baton of Juraj Valčuha, in Trento and Bolzano and in Zurich (JE Gardiner conducting).
Marianna Pizzolato took part in the project “Il Salotto Rossiniano” in Taranto and Florence with Stefano Montanari at the fortepiano and then in a solo recital in Tokyo. Most recently she performed: Rota’s Mysterium in Naples and Rome; Verdi’s Requiem in Leipzig under Riccardo Chailly; a solo recital at the prestigious Note al Museo series held in the magnificent setting the Duomo Museum in Florence. Her recent engagements also include Mahler’s Second Symphony and Brahms’ Alto Rhapsody at the Teatro Massimo in Palermo, where she also performed in L’Italiana in Algeri after that in Liege she starred in La Donna del Lago and in Rossini’s Stabat Mater Michele Mariotti conducting.
Through the years she colaborated with many important conductors such as Alberto Zedda, Riccardo Muti, Roberto Abbado, Daniele Gatti, Gianluigi Gelmetti, Donato Renzetti, Nello Santi, Paolo Carignani, Bruno Campanella, Michele Mariotti, Carlo Rizzi, Rani Calderon, Maurizio Benini, Antonio Pappano and director such as Dario Fo, Robert Wilson and Luca Ronconi.
Her discography includes: Cherubini’s Missa Solemnis in E Major (EMI); Handel’s Fernando Re di Castiglia (Virgin Classics); L’Italiana in Algeri, Ermione and Vivaldi’s La Rosmira Fedele (Dynamic); Vivaldi’s Orlando Finto Pazzo (Naïve); La Donna del Lago, L’Italiana in Algeri and Gli Amori d’Apollo e Dafne (Naxos); Cimarosa’s Il Marito Disperato and Ascanio in Alba (Bongiovanni); Linda di Chamonix (Opera Rara); Pergolesi’s Stabat Mater (Deutsche Grammophon).
Plans include: L’Italiana in Algeri in San Sebastian; Sigismondo in Munich; Falstaff at the Teatro Real in Madrid and Liège; Serse (Amastre) with Il Pomo d’Oro in Toulouse and Essen; Rossini’s Stabat Mater in Tokyo; Haydn’s Missa in tempore bellis in Rome (with Accademia Nazionale di Santa Cecilia); Missa Solemnis K 139 in Salzburg with Il Giardino Armonico conducted by Giovanni Antonini.