About Mediterranean Opera Studio & Festival
For over a decade, Mediterranean Opera Studio & Festival has been at the forefront of nurturing emerging opera talent. Our program combines world-class instruction, immersive cultural experiences, and professional performance opportunities in the heart of Sicily.
Our Vision
For over a decade, Mediterranean Opera Studio & Festival has aimed to bridge the gap between the great artists of past generations and our rising young vocalists. We cherish the wealth of knowledge in vocal arts—technique, style, musicality, and acting—that these seasoned faculty/artists bring. Our vision is to foster a spirit of curiosity, collaboration, and respect as each student embarks on their personal artistic journey.
We expect our participants to have a desire to learn and a spirit of adventure, willing to try new things and share their discoveries with mentors back home. We bring together the best teachers and coaches from around the world, offering a five-week intensive program with professionals you likely would not otherwise have access to. Our goal is to transform your vocalism through dedicated instruction and practice.
At the end of our program we want participants to feel enriched personally and artistically, motivated to continue to strive for excellence in their art, and armed with knowledge that will help them excel as a performing artist.
Luis Ledesma, Baritone, Voice Teacher
The Academy of Vocal Arts, Philadelphia
Fabio Cerroni, Vocal Coach,
Bayerische Staatsoper, Munich State Opera
Leonardo Catalanotto, Conductor, Vocal Coach Bellini Opera House of Catania, Italy
Marc Verter, Vocal Coach, Royal Opera and Ballet Covent Garden, Guildhall School of Music, London
Danielle Orlando, Vocal Coach, The Academy of Vocal Arts, Philadelphia
Kamal Khan, Vocal Coach,
The Metropolitan Opera of New York, Operalia
Sergey Rybin, Conductor, Vocal Coach, Royal Opera and Ballet, Covent Garden, London
Felice Venanzoni, Conductor, Vocal Coach, Frankfurt Oper, Frankfurt am Mein
Beatrice Benzi, Vocal Coach, La Scala di Milano Opera House, Milan, Italy
Giancarlo Scalia, Vocal Coach, Opéra de Montréal, Canada
Expert Staff
Jack Li Vigni, General Director MOSF, Head of Vocal Studies, Curtis Institute, MSM, Royal Opera House Covent Garden, Frankfurt Oper, De Nederlandse Opera Amsterdam
Marc Schnaible - Voice Teacher, The Curtis Institute of Music and Manhattan School of Music, Metropolitan Opera of New York
Samantha Malk - Voice Teacher, Head of Vocal Studies The Guildhall School of Music, London
Ruth Golden, Soprano - Voice Teacher Manhattan School of Music
Gregory Kunde, Tenor, World renown
MOSF serves aspiring operatic performers, orchestra istrumentalists, aspiring conductors, studio pianists, and stage directors. We do not have artists compete for roles or positions. If you are accepted for a specific role, then you will sing that role if you arrive with your part memorized and ready to perform.
As to age limits, you must be 18 or older. Most participants are undergraduate and graduate students. Some are on the cusp of a career.
Who can participate
In 2027 we will present: La Traviata by Giuseppe Verdi, Die Zauberflöte by W. A. Mozart, and La Boheme by Giacomo Puccini.
We do not consider MOSF a pay-to-sing program because our focus is on your development as an artist, not just your performance in an opera. While performing is a crucial part of learning, it is only one aspect of our comprehensive training, and we sincerely hope performing in an opera is not your main reason for coming to our program. If that is your goal, we would prefer you choose a different program. We believe that performing opens the mind to new learning opportunities, but our primary goal is your artistic growth through multiple-path training.
All classes, rehearsals, coachings, voice lessons, and performances are open door/accessible to the entire MOSF student body. Observing others’ lessons and coachings can be highly enlightening, and in the spirit of respect and camaraderie, we keep all sessions open for anyone to attend. You are required to be present at every performance, not only to support your colleagues but also to learn. On nights when we are not leads, we all sing in the chorus for every opera.
Our Performances
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