About
Lydia Ciaputa is a Greek-American soprano from New York now living in Europe. Having completed her degree in Art History and Classics at Vassar College, she went on to receive her Masters of Music at Mannes (The New School). This past June she made her role debut singing Lauretta (Gianni Schicchi) at the Wiener Kammeroper (Vienna).
While the focus of her studies was on operatic and song repertoire, she also sings in baroque, musical theatre, and cabaret styles. Praised for her “ethereal sound,” Lydia has performed on stages across the U.S., Europe, Asia, and Australia. In 2015, she made her Lincoln Center debut and then travelled to Tokyo with a small ensemble for the Ashinaga Foundation’s “At Home in the World” tour, directed by Tony award-winner John Caird. Before moving to Italy last year, Lydia studied at intensive opera programs there, working with Royal Opera House conductor Richard Hetherington and Washington National Opera’s Giovanni Reggioli as well as Rossini Opera Festival coach Ubaldo Fabbri.
With an immense appreciation for concert repertoire, Lydia has performed many early and modern works including Haydn’s Scena di Berenice, Rameau’s Orphée, the title role in Vivaldi’s only surviving oratorio, Juditha Triumphans, and collaborated with conductors David Fulmer and Alan Pierson in the Modern American Composers Ensemble. She has participated in master classes with singers such as Alan Held and Dawn Upshaw, and collaborative pianist Margot Garrett, and won the Vassar Concerto Competition her final year. She is also a passionate choral singer, and while at university was a featured soloist in Orff’s Carmina Burana, Brahms’s Liebeslieder, Britten’s Hymn to the Virgin, and Ives’s Psalm 90. Her favorite roles include Cendrillon (Viardot’s Cendrillon), Susanna (Le nozze di Figaro), Lauretta (Gianni Schicchi), and Mother Superior (The Sound of Music). Lydia is a student of Beth Roberts. Pursuing her passion for historically informed performance practice, she now lives and works in Amsterdam.
Incorporating her knowledge of history and art, Lydia is an advocate for the interdisciplinary interpretation and understanding of creative outlets, often considering the visual arts and their relation to music: in style, subject, time period, and context. Or, art in space versus art in time, and how they coexist.
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