Aviva Fortunata



Aviva Fortunata


Canadian / Italian Citizen

Twice named one of CBC Top 30 Canadian Classical Artists under 30, Italian-Canadian soprano Aviva Fortunata has been praised as being “blessed with a gorgeous voice of richness and amplitude.” As Leonore in Pacific Opera Victoria’s production of Beethoven’s Fidelio, Ms. Fortunata “unleashed a rich and powerful voice” and was hailed as “retaining beauty and suppleness throughout the rest of the difficult opera, soaring to the rafters when required.” As Countess Almaviva in Mozart’s Le nozze di Figaro with the Canadian Opera Company Ensemble, Ms. Fortunata was described as a “powerful and gorgeous lirico-spinto that’s destined to go places.”

Ms. Fortunata begins her 2019-2020 season with Pacific Opera Victoria in Puccini’s Il Trittico, as the title role in Suor Angelica, Giorgetta in Il tabarro and Nella in Gianni Schicchi.  She then joins Deutsche Oper Berlin as member of their company featured in Die Zauberflöte, Il barbiere de Siviglia, Nabucco and Aida.  In Calgary she returns to the title role in Norma and later in the season will be in Victoria for a program of Mozart concert arias with the symphony.

Recent successes include stepping in as a last-minute replacement for the title role in Norma at Dallas Opera, as well as stepping in for the roles of Dritte Norn and Gutrune in Wagner’s Götterdämmerung at the Canadian Opera Company. Further credits include Tosca at Opera on the Avalon, excerpts from Lohengrin with the Victoria Symphony, Erste Dame in Die Zauberflöte for the Canadian Opera Company, and Donna Elvira in Don Giovanni with Saskatoon Opera.

A graduate of the Canadian Opera Company’s Ensemble Studio, Ms. Fortunata’s main stage roles include Fiordiligi in Così fan tutte, Helmwige in Die Walküre, Berta in Il barbiere de Siviglia, and Clotilde in Norma. Her cover assignments for the COC have included Anna in Maometto II, Alice Ford in Falstaff, Donna Anna in Don Giovanni, and Ellen Orford in Peter Grimes. Other notable credits include Desdemona in Otello and the Lady with a Cake Box in Postcard from Morocco with San Francisco Opera’s Merola Opera Program; Donna Anna in Don Giovanni with Concert Opera Group, Centre for Opera Studies in Italy and Poulenc’s Gloria with the Buffalo Philharmonic Orchestra.

At the Richard Bradshaw Amphitheatre – Four Seasons Centre – Ms. Fortunata performed the Canadian premiere of John Greer’s piano quintet arrangement of Richard Strauss’ Vier letzte Lieder; other performances for this popular lunchtime series include Olivier Messaien’s Poèmes pour Mi and Benjamin Britten’s Ekho poeta.

Chosen as a finalist in the 2016 Operalia Competition in Guadalajara, Mexico, she performed under the baton of Maestro Plácido Domingo in the historic Teatro Degollado. Representing Canada in the BBC Cardiff Singer of the World Competition, she was a finalist for the Song Prize. Ms. Fortunata holds a master’s degree in opera from the University of Toronto.

September 2019


Argento Lady with a Cake Box POSTCARD FROM MOROCCO
Bellini Norma NORMA
Bizet Micaëla CARMEN
Britten Ellen Orford PETER GRIMES
  Female Chorus RAPE OF LUCRETIA
Mozart Contessa Almamiva LE NOZZE DI FIGARO
  Fiordiligi COSÌ FAN TUTTE
Puccini Tosca TOSCA
Rossini Anna MAOMETTO II
Verdi Alice Ford FALSTAFF
  Amelia Grimaldi SIMON BOCCANEGRA
  Desdemona OTELLO
  Elisabeth de Valois DON CARLOS
  Gerhilde DIE WALKÜRE
  Helmwige DIE WALKÜRE


Beethoven Symphony No. 9
Brahms Ein Deutsches Requiem
Britten Ekho Poeta
  War Requiem
Mendelssohn Elijah
  St Paul
Messaien Poèmes pour Mì
Mozart Mass in C minor KV 427 (2nd soprano)
  Vesperae Solennes de Confessore KV 339
Poulenc Gloria
Rossini Stabat Mater
Strauss Vier Letzte Lieder (various orchestral excerpts)
Verdi  Messa da Requiem

“… this production is blessed with an outstanding lead soprano in Aviva Fortunata… Fortunata certainly came up trumps in the famous Casta diva in the first act. And elsewhere, notably in the powerful final moments of the opera, she sang and acted with complete conviction. It was an impressive debut.” [Norma, Calgary Opera] Calgary Herald, Kenneth Delong

“The singing and acting were first rate, with soprano Aviva Fortunata especially impressive… Fortunata’s heart-rending Senza mamma, one of Puccini’s finest arias, was tremendous, sung with creamy lyricism and thrilling high notes… Fortunata sang well as Giorgetta, the cheating wife, displaying a rounded, velvety timbre and fine projection with no hint of stridency.” [Il trittico, Pacific Opera Victoria] Times Colonist, Adrian Chamberlain

“Last night it seemed very much about the Count and Countess, not least because of a quite stunning performance by Aviva Fortunata. This really was a bit special. From the first notes of Porgi amor to Più docile io sono she was commanding and very affecting.” [Le nozze di Figaro] Operaramblings.com, John Gilks

“Soprano Aviva Fortunata has a powerful and gorgeous lirico-spinto that’s destined to go places. Her ‘Porgi amor’ showed off her excellent sense of pitch, lovely legato and gleaming tone, with a nice dolcissimo high A-flat ending. Her ‘Dove sono’ deservedly received huge applause from the audience.” [Le nozze di Figaro] Musical Toronto, Joseph So

“As The Countess, soprano Aviva Fortunata showed a new picture of professionalism and poise onstage; there was new maturity in the voice, a level of comfort with Mozart’s music that allowed us to pay attention to her smart acting abilities. She made a real person out of the brooding Rosina, including fantastic comic timing in the kerfuffle-like scenes. She was a force alongside Gordon Bintner as Count Almaviva; the two of them had a chilly relationship that was ever so slightly cartoon-like, and wonderfully familiar.” [Le nozze di Figaro] Schmopera, Jenna Simeonov

“And speaking of singers I missed in the 2014 Ensemble Cosi, there’s Aviva Fortunata, with a voice & commitment to match Bintner.  I wouldn’t dream of saying her voice sounds like anyone. It’s unique, but paticularly when she lets fly at the top of her range, it’s clear that the sky’s the limit.” [Le nozze di Figaro] Barczablog, Leslie Barcza

“Aviva Fortunata made a highly favorable impression, her attractive, substantial soprano imbuing each of Clotilde’s phrases with such real quality that it reminds us the great Sutherland once herself made quite an impression in this secondary role.” [Norma] Opera Today, James Sohre

“Aviva Fortunata sounded even more impressive the second time, her big voice showcased in this little role in one of the more interesting casting choices of the season, her colour adding a wonderful dimension to the ensembles she’s in.” [Il barbiere di Siviglia] Barczablog, Leslie Barcza

“As Berta, Rosina’s governess, Aviva Fortunata was hilarious. She had all that “listening action” that can be so full of comic moments; I want to see it again, and sit a bit closer, because I have a feeling Aviva had some priceless facial expressions. I was glad they kept Berta’s aria for her, too.” [Il barbiere di Siviglia] Schmopera, Jenna Simeonov

“Soprano Aviva Fortunata applied a brilliant, dramatic tone and natural style of acting to the supporting role of the servant Berta.” [Il barbiere di Siviglia] The National Post, Arthur Kaptainis

“With power to spare and a well formed sense of expression Ensemble Studio soprano Aviva Fortunata’s portrayal of Rosina’s Governess, ‘Berta’, established her as a dominant presence even when she sang recitatives. Her big number in the second act was thrilling. Occasional awkwardness when standing still was transcended by the easy flow of her movements when she was central to the action. She has everything needed to be stealing scenes in the near future.” [Il barbiere di Siviglia] Norules-nolights.com, Brian Hay

“Aviva Fortunata, blessed with a full, rich soprano, gave such a fine account of Berta’s ‘Il vecchiotto cerca moglie’ one wished Rossini had given her character a larger role.” [Il barbiere di Siviglia] Opera News, Christpher Noile

 “Fortunata is blessed with a gorgeous voice of richness and amplitude, with excellent squillo. She can make a big, well-focused sound, as evidenced in her current gig as Helmwige in Die Walkure – the high B’s and C’s hold no terror for her….” [Die Walküre] Musical Toronto, Joseph So

 “Soprano Aviva Fortunata, as Helmwige, started off the ‘ho-jo-to-ho’ sequence with what were the most solid and satisfying octaves I’ve ever heard sung.” [Die Walküre] Schmopoera, Jenna Simeonov

As Fiordiligi, in Così fan tutte,  by Mozart:

“Fortunata made a very impressive job of ‘Come scoglio.’” [Così fan tutte] Operaramblings.com, John Gilks

“… Aviva Fortunata introduced Fiordiligi as the perfectly relatable girl that [she is]; … made me laugh, and [she] sang superbly. As Fiordiligi, Aviva’s was some of the most impressive singing of the night. Her ‘Come scoglio’ earned tons of applause, and rightly so; she was fierce and hilarious, all channeled through her powerful instrument.” [Die Walküre] Schmopera, Jenna Simeonov

“The first act Fiordiligi, soprano Aviva Fortunata, has a big, soaring voice of infinite spinto coloratura possibilities. Is there a Lucia, or even a Brunhilde in her far future? She absolutely nailed her big aria ‘Come Scoglio.’” [Die Walküre] Paula Citron

“The women’s voices blended beautifully, and Fortunata’s creamy tones were a delight whenever she sang.” [Die Walküre] NOW Magazine, Jon Kaplan and Glenn Sumi

“Soprano Aviva Fortunata returned at evening’s end to offer a fine-grained and deeply moving account of the ‘Ave Maria’ in Otello.” [Otello] San Francisco Chronicle, Joshua Kosman

“The evening closed with a beautiful, devastating version of “The Willow Song” from Verdi’s Otello sung by Canadian soprano Aviva Fortunata.” [Die Walküre] A Beast in a Jungle, John Marcher

“As A Lady with a Cake Box, soprano Aviva Fortunata sang with much power. Her voice is robust and penetrating, but her quiet notes were loveliest.” [Postcard from Morocco] Opera Tattler

“Soprano Aviva Fortunata (A Lady with a Cake Box) showed us voice equally strong and face equally enigmatic, but her emotional commitment managed to break through the haze. As with Glueckert, she touched the heart. Only when the two of them interacted did we have a sense that something profound was unfolding amidst Nicholas Muni’s simple sets and Argento’s masterful score.” [Postcard from Morocco] San Francisco Classical Voice, Jason Serinus

“soprano Aviva Fortunata gave a heartfelt and perfectly lovely reminiscence of a bygone romance.” [Postcard from Morocco] San Francisco Chronicle, Joshua Kosman

I am happy to say Aviva Fortunata sang it very beautifully. First of all, her voice has the right weight and timbre for this cycle. Right off the bat, ‘Fruhling’ has a very high tessitura with long, arching phrases. Fortunata tackled it nicely with rich, refulgent tone and ample breath! ‘September’ is equally demanding, with a long phrase on the word ‘blumen’ that sits low in the soprano range that often gives the singer trouble. Aviva did it marvellously. This was followed by arguably the most difficult passage for the soprano, several long, arching phrases up to a B natural and then drops to the lowest part of the soprano range, a line that has defeated many a great singer in the past. Impressively, Fortunata did it with rich, opulent tone and with plenty of breath.” [Vier letzte Lieder] Musical Toronto, Joseph So

“Aviva Fortunata sang them with great commitment and near perfect diction; no mean feat with such demanding music. She was intensely physical in the bookend movements, using her full voice to great effect, especially in the ecstatic closing monosyllables of ‘Épouvante.’ But she also throttled back beautifully in the middle movements. It was really quite impressive” [Poèmes pour Mì] Operaramblings.com, John Gilks

“The concert closed out with soprano Aviva Fortunata singing the Pushkin settings Ekho Poeta/The Poet’s Echo written for Galina Vishnevskaya. These are angry, dramatic pieces and do call for a full-blooded sound, which Fortunata delivered. Good stuff.” [Ekho Poeta] Operaramblings, John Gilks

 “Last but not least was Canadian dramatic soprano Aviva Fortunata. She has a rich and round tone, carrying easily over the orchestra but never heavy. She carried off Elsa’s dream aria from Wagner’s Lohengrin with aplomb and showed a sound technique in Anna’s aria ‘Ah! Che invan su questo ciglio’ from Rossini’s little known Maometto II.  ‘Chi il bel sogno di Doretta’ from Puccini’s La rondine, with its beautiful soaring melody, was a lovely aria on which to end her programme, and she met its challenges well.” [BBC Cardiff Singer of the World Competition] Wales Arts Review, Cath Barton

“The third soprano of the evening was a very different proposition from the high-flying voices earlier, a full, creamy lirico-spinto with just enough additional heft for the Wagner.  I doubt Aviva Fortunate will ever graduate to Brünnhilde or Isolde, but the lighter (relatively speaking) roles are already well within her grasp, judging from the excellent interpretation of Elsa’s Dream.  And this was an interpretation, with a degree of acting that we hadn’t seen previously this evening.  During the orchestral introduction (and the orchestra was playing extremely well tonight, throughout), she looked around the auditorium with a fearful gaze, turning the audience into the crowd present at her trial, and the jury into Elsa’s judges.I have to admit that I detest Doretta’s Dream, it’s Puccini at his most saccharine and it gives me tooth-ache, but Fortunata sang it seductively, floating her top notes with elegant ease.” [BBC Cardiff Singer of the World Competition] Row B Seat 37 Blog



Calgary Opera presents Bellini’s Norma with soprano Aviva Fortunata (Norma), tenor Andrew Haji (Pollione), and bass Alain Coulombe (Oroveso). Opens February 1, with performances until February 7, 2020. calgaryopera.com


Soprano Aviva Fortunata is with the Deutsche Oper Berlin for an exciting 2019/20 season of following performances:



NABUCCO, AS ANNA­­­­, ON DECEMBER 21 AND 27 (2019) AND JUNE 6 AND 13 (2020).