Lidia Fridman

Devoted through her intensity, her vocal instrument and her scenic figure to embody the Belcanto heroines, the young soprano Lidia Fridman began last year to grab the attention of critics and public for her extreme musicality and magnetic stage presence.

Born in 1996 in Samara (Russian Federation), she completed her first studies at the Institute of Music and at the Art School of her city, also attending specialization courses at the Elena Obraztsova Academy in St. Petersburg.

In 2015 she moved to Italy, graduating with honours from the Conservatory of Udine under the guidance of Domenico Balzani her technical-interpretative training is followed by soprano Paoletta Marrocu.

She received prestigious scholarships in her country and was awarded in many international competitions.

Her first professional experiences has been in the Venetian regions with concerts and performances among them we remeber Pergolesi’s Stabat Mater and Donna Eleonora in Prima la musica poi le parole in Pordenone and  Contessa in Le nozze di Figaro at the Accademia Lirica in Trieste and toured in other Italian and Russian venues.

In 2019, as part of the collaboration between the Benedetto Marcello Conservatory and La Fenice, she debuted at the Malibran Theater in Venice in the title role of the first modern performance of Albinoni’s La Statira conducted and directed by his lecturers Francesco Erle and Francesco Bellotto.

In the Summer she has been invited at the Valle d’Itria Festival in Martina Franca where she took part at the Accademia del Belcanto Rodolfo Celletti and performed in the ‘Concerti del sorbetto’ and in Brahms Requiem. She then received unanimous acclaim from both critics and public debuting with a last moment replacement in the title role of the contemporary premiere of Ecuba, work of Nicola Manfroce, eighteenth-century Calabrian musical genius who died at the age of 22, in the production of Pier Luigi Pizzi under the guidance of Sesto Quatrini, evening broadcast live on radio and streamed on Rai5.

In September, a new debut in a leading role, at Palazzo Liviano in Padua in the semi-staged performance of Purcel’s Dido and Aeneas, followed by a concert with the Trio ‘G. De Vito ‘at Palazzo Cavanis in Venice as part of the Biennale with music by Marco Sinopoli and Bernstein.

And, as conclusion of this first year studded with Primedonne and rediscoveries, she reincarnated at the Donizetti Festival the leading role of Sylvia de Linares in the world scenic premiere of  L’Ange de Nisida performed in the half restored Donizetti Theater in the amazing show by Francesco Micheli directed by Jean-Luc Tingaud.


Among her recent and future engagements, the debut in the title roles in Lucrezia Borgia in Trieste and a philological version of the Verdian Aroldo in Rimini.

September 2020