Hailed for her “pristine sound” by Opera News and her “considerable top power note”, French Soprano Aura Veruni is quickly establishing herself as an exciting young artist who is equally at home on both the concert and opera stage.
In the 2018/19 season, she returns to the Mendocino Music Festival with a role debut as Adina in L’elisir D’Amore. She will also be performing concerts with Ars Minerva at prestigious venues such as the 906 World Cultural Center in San Francisco and the Battery Club.
In the 2017/18 season, Ms. Veruni joined the roster of San Francisco based company Ars Minerva singing the title role in the modern-world première of Italian Baroque opera Ifigenia in Aulide, under the direction of Derek Tam and Céline Ricci. Ms.Veruni also joined the prestigious Ensemble of Sarasota Opera singing the role of Peppa in Eugene D’Albert’s Tiefland, as well as covering the title role of Bellini’s Norma.
In previous seasons Ms.Veruni covered Hamlet’s Ophelia with West edge Opera. She also sang Marie in Donizetti’s La Fille du Régiment with San Francisco Opera Guild. She covered the title role of Manon with Des Moines Metro Opera, sang exerpts as Cleopatra from Handel’s Giulio Cesare, and from the title role in Lucia di Lammermoor. She also joined the roster of Ars Minerva singing the role of Scilla in world the premiere of La Circe by Andrea Ziani.
Ms.Veruni made her international debut with the iSing! International Festival in China where she was featured in a gala concert broadcast on CCTV and Hunan TV, then went on to perform her debut as Nanetta with Cinnabar Theater in Verdi’s Falstaff.
A recipient of numerous awards Ms. Veruni was twice the winner of the Metropolitan Opera National Council Auditions Kansas City District & Washington District , has been awarded top prize from the Cooper Bing International Vocal Competition, Second prize at the East Bay Opera League Competition, the Thelma Dry Award - Henri and Maria Holt Memorial Scholarship Competition, and the prestigious Palm Springs Opera Guild Competition.
Ms. Veruni holds a B.F.A in Music Performance from Gnessin College in Moscow Russia where she received the Tchaikovsky Award for excellence in Music Performance. She holds a Masters degree in music, and a Certificate of Professional Studies in Opera Performance from the San Francisco Conservatory of Music. She is fluent in French, English, Russian, and Italian.
Classical Sonoma by Terry McNeill.
Ms. Veruni in the first act combined coquettish acting with clear Italian and when needed considerable top-note power, important in the large-volume tent space with zero reverberation.
The “Quanto Amore” duet between Adina and Dulcamara was a highlight as in the second act the plot strands were coming together.
San Francisco Chronicle by Joshua Kosman.
But the plot, which can be hard to follow under the best of circumstances, is less pressing than the opportunity for vocal display, and this is where the Ars Minerva company largely shone. Soprano Aura Veruni gave a vivid, tonally rich performance as Ifigenia.
Parterre Box by Michael Anthonio.
In the title role, soprano Aura Veruni‘s sweet and creamy tone proved devastating in “Madre diletta” and naively hopeful in the “Verace o menzognera” that closed Act 2.
San Francisco Classical Voice by Charlise Tiee.
Soprano Aura Veruni, as Pulcheria, had a pristine sound and attacked her brilliant coloratura passages with agility. It was impressive how much heft and volume her slight frame produced.
The Rehearsal Studio by Stephen Smoliar.
Scylla (given an unabashed personification by Aura Veruni that recalled the old Hollywood screwball comedies).
Opera Today by Maria Nockin.
Princess Pulcheria, sung with exquisite Baroque style by French soprano Aurélie Veruni