Savonese si é diplomata brillantemente sia in Pianoforte sotto la guida del Maestro Walter Ferrato presso il Conservatorio di Genova che in canto sotto la guida del Mezzosoprano Franca Mattiucci presso il Conservatorio di Alessandria. Ha perfezionato lo studio del suo repertorio seguendo Corsi con Renata Scotto, Rockwell Blake, Robert Kettelson Alida Ferrarini. Ha iniziato la sua carriera professionistica nel 1998 che la ha portata a cantare in alcuni dei principali Teatri ed Enti lirici e per prestigiose Istituzioni musicali italiane (Tetro Regio di Torino, Filarmonico di Verona , Donizetti di Bergamo Fondazione Toscanini di Parma Auditorium Verdi di Milano…..) e all’estero in Teatri europei ed extraeuropei, dove ha interpretato i principali ruoli del suo repertorio che corrisponde a quello del soprano lirico-coloratura.
Ha lavorato con grandi registi come Luca Ronconi Beppe de Tommasi, Filippo Crivelli….. e direttori quali Diego Fasolis, Fabrizio Carminati, Daniele Rustioni Enrique Mazzola… Eccellendo soprattutto nei ruoli mozartiani e del “belcanto” italiano ha debuttato circa 50 ruoli operistici in molti casi prime esecuzioni: tra queste la Clotilde di Coccia Il Don Falcone di jommelli e l’Agnese di Paer . Quest’ultima recentemente incisa a Lugano presso la Radio della Svizzera italiana sotto la direzione di Diego Fasolis.Ha in repertorio quasi tutti i ruoli brillanti di Rossini e molti ruoli donizettiani :Don Pasquale, Elisir Lucia di Lammermoor, Ajo nell’imbarazzo, Figlia del reggimento Campanello Betly. Quest’ultima Ie ha valso , da parte di una nota rivista operisticala candidatura aIIoscar della lirica come migliore soprano 2014.
E’ stata applaudita come Adina neII’EIisir d’amore al Festival Donizettiano di Bergamo al Politeama di Lecce, al Teatro Bunka kaikan di Tokyo e nei principali Teatri del Giappone, come Marie nella Figlia del reggimento al teatro Coccia di Novara come Gilda nel Rigoletto nei Teatri di Bergamo, Lucca Sassari Novara Savona e come Violetta in Traviata a Tokyo Toledo Pistoia e Latina.

Mozartiana di vocazione ha cantato come Susanna , Madame Herz Zerlina , Donna Anna e Regina della notte ruolo che ( debuttato con l’Aslico nei teatri del circuito Lombardo) la accompagna da molti anni e che recentemente ha cantato ancora in omaggio a Lele Luzzati in un allestimento a cura del Teatro della Tosse di Genova.
Saré ancora Violetta nella Traviata a Villa Castelbarco suIIAdda neIlambito di Milano Expo 2015. Notevole il suo repertorio neIlambito della Iiederistica e nella musica sacra con importanti collaborazioni con artisti tra i quali
Massimiliano Damerini.
Nella musica contemporanea ha collaborato con I’Associazione Antidogma di Torino e con Settembre musica. In questo ambito alcuni importanti compositori , viste Ie sue qualité virtuosistiche hanno scritto per lei alcune pagine o ruoli d’opere.

Intensa la sua attività concertistica in Campo nazionale einternazionale.

Ampia la sua discografia soprattutto in ambito barocco.


Ranked as one of the greatest and eclectic voices on the Lyric Italian scene (“great voice extension and incredibly stable in high and over-high registers, musically impeccable, expressive and scenically delicious” – A. Merli”).
Linda Campanella was born in Savona. She toke the graduation in piano, leaded by   Walter Ferrato, and in Opera singing with Franca Mattiucci, at the Alessandria Music Academy. She improved her repertoire attending master classes with Renata Scotto, Rockwell Blake, Robert Kettelson. She made her debut  in 1998. From this year onwards, she has performed  in the main Italian, european and extra- eurpoean opera-houses. She has performed the main roles of  the “soprano di coloratura” repertoire. She also recorded a lot of baroque classical pieces with first performances of Paisiello (il Socrate immaginario), Vivaldi (Il Giustino), Scarlatti (Oratorio della Santissima Trinità), Galuppi (L’amante di tutte), Stradella (La Doriclea).
Remarkable is her repertoire of liederistic pieces:  Mozart’s, Berg’s and all the romantic and late-romantic spanish, german and french  lieders. She is highly reguarded also in Sacred and Contemporary Music. She recorded important pieces as Sturm und Drang (contemporary liederistic) and some mainly composers like Possio, Correggia, Morricone, Acker, Yanov-Yanovsky have written for her some pages or specific Opera roles, considering her virtuosic talent. Her collaborations with Settembre Musica and with the Fylarmonic of Verona are proof this ability.
Estimate as leading performer in Donizzetti’s “La figlia del Reggimento” at the Teathre  Coccia of Novara; as Adina in Donizzetti’s “Elisir d’Amore” in Toledo, Spain; as Sofia in Rossini’s “Signor Bruschino” in Turin  with Mr Desderi as Conductor.
She has been chosen as protagonist in the world-first recording of Agnese by Paer, together with the  instruments ensemble “ I Barocchisti” conducted by Diego Fasolis.
In 2009 she played the role of Juliette in Gounod’s Opera, in Novara, and “Susanna in Nozze di Figaro” in Saragozza. At Politeama Teathre of Lecce she brilliantly performed Rosina in Barbiere di Siviglia and Adina in Elisir d’amore. During operistic season 2010/2011 she sang as Gilda – Rigoletto in Bergamo, Lucca,  Sassari and at Theatre  Verdi of Pisa;  Norina of  Don Pasquale in Bergamo and Novara.
Noteworthy also her Rossinian performances in collaboration with Savona’s “Opera Giocosa”as protagonist in  Signor Bruschino, Cambiale di matrimonio and in Italiana in Algeri. She has successfully sung the role of Adina in Elisir d’amore at Donizzetti’s Festival of Bergamo, in Tokyo, Yokohama, Morioka, Nagoya, Toledo, Saragoza, Alicante, Palma de Mallorca, Novara, Asti, Alessandria, Savona, Massa Marittima and other main italian Opera Houses. Intensive her concert activity both on italian and  international stages.

SOME REVIEWS ABOUT LINDA:
Norina in “Don Pasquale”
The overwhelming Norina by Linda Campanella: the soprano is totally in the pink in a role that seems to be written exatly for her. This confidend and fascinating Norina comes onstage looking like Jane Fonda in “Barbarella” and makes most of her audience jump.
Norina’s aria gently flows adorned by an impeccable execution.
This mood goes on for all the Opera, in which mrs Campanella comes out with a fresh coquetry.
In practice, here we find her beautiful qualities, already noticed in mrs Campanella’s Gilda in Bergamo, given back more impressive by the incredibly voice’s fusion with the role.”
(GB Opera)

Cambiale di Matrimonio, Savona
The lively “Fanny” of Linda Campanella rules the all the evening.
Her voice is always well-mixed with a careful staginess and deals successfully with the redoubtable aria “Vorrei spiegarvi il giubilo”. All these skills, in my opinion, make this Artist one of the most interesting nowadays for this kind of repertoire.
L’Opera – Silvia Campana

Elisir d’Amore Bergamo/Tokyo
What about Linda Campanella? We can say all the best, both about vocal precision and the grace of her interpretation. She’s able to stay on stage with moderation and naturalness, making the character as believable as possible.
This singer has evidently the professional reliability of an authentic musician: she follows the director’s instructions but she doesn’t give up followiong what the original wordbook says.
Corriere del Teatro

Linda Campanella’s experience and good use of voice are her strong point.
She characterizes her roles with elegance and moderation. Her timbre is delightful and all the vocal agilities are approached in a resolute manner.
Operaclick – Marilisa Lazzari

… With peaks of excellence with Maria by Linda Campanella, who makes the “vivandiera” a fancy, breezy character with an excellent voice control.
She is petite but incredibly determined and engaging; her timbre is fresh and considerably extended, she has good homogeneity in all the registers.
The diction is clear and clean, both in rushes and in frequent agility passages, which are performed with accuracy and never flattened: in most brilliant moments she caused lots of applause from her listeners. 
Also welldone the first act aria, with well-managed breaths and an always relevant phrasing.
The over-high spots of some all-characters scenes are loud and well-marked. 
Linda is really a wonderful surprise.
Operaclick – Vittorio Zambon


サボナ出身。ジェノバ音楽院にてワルター・フェラト氏師事 の下ピアノ科を修了、さらにアレッサンドリア音楽院にてメゾソプラノのマッティウッチ・フランカ女史師事の下、優秀な成績で声楽 科卒業。その後レナータ・スコット女史、ロックウエル・ブレイク氏、ロバート・ケッテルソン氏らのマスターコースを受講しレパー トリの完成に研鑽する。1998年よりプロ活動開始、イタリアのみならずヨーロッパ内外の主要劇場やオペラ協会にて、リリコ・レッ ジェーロ、コロラトゥーラのソプラノの重要なレパートリーを歌う。録音活動も精力的に行い、特にバロック音楽部門に傾倒、初期の 作品にはパイジェッロ「ソクラテス狂」ビバルディ「ジュスティーノ(ユスティヌス)、スカルラッティ 「聖三位一体のオラトリオ、ガルッピ「アマンテ・ディ・トゥッティ」ストラデッラ「ドリクレア」等があげられる。ドイツ歌曲で は、ロマン派からドイツ、スペイン、フランス後期ロマン派まで、モーツァルトリートからベルクに至るレパートリの幅広さは目覚ま しい。宗教音楽や現代音楽のレパートリーも好評を博し、「シュトゥルム・ウント・ドラング:現代ドイツ歌曲」をはじめ、ポッシ オ、コレッジャ、モリコーネ、アッカー、ヤノフ・ヤノフスキー等、著名な作曲家が才能を絶賛し、彼女のために創作した曲や役柄を演じレコーディングしており、中でも9月音楽祭でのヴェローナ・フィルハーモニー劇場との共演は特筆に値する。ノバラ市のコッチヤ劇場にて歌劇 「連隊の娘」の主役、スペイン・トレド市での「愛の妙薬」のアディーナ、 トリノ市でのデズデーリの指揮による「ブルスキーノ氏 のソフィア役は絶賛を浴びる。又ディエゴ・ファゾリス指揮による「バロッキスティ」と共に、パエール作「アニェーゼ」の世界初公 演及びレコーディングにおいても主役に抜擢される。2009年にはノバラで行われたグノーオペラのジュリエットを、サ ラゴザにて「フィガロの結婚」のスザンナ役を演ずる。レッチェ市のポリテーマ劇場にて「セビリヤの理髪師」のロジーナ役を演じ成 功を収める。2010/2011年度シーズンではベルガモ市、ルッカ市ジリオ劇場、サッサリ市、ピサのヴェルディ劇場で「リゴレッ ト」のジルダを演ずる。サボナのジョコーザオペラ劇団との共演で行われたロッシーニ作品、「ブルスキーノ氏」「結婚手形」「アル ジェのイタリア人」等の主役も忘れてはならない。ベルガモ市で開催されるドニゼッティ音楽祭、東京、横浜、盛岡、名古屋、トレ ド、サラゴザ、アリカンテ、パルマ・デ・マヨルカ、ノバラ、アステイ、アレッサンドリア、サボナ、マッサ・マリッティマ他数多く の由緒ある劇場にて「愛の妙薬」のアディーナ役で好評を博している。国内外を問わずそのコンサート活動は目覚ましい。