Mr. Venanzoni has worked at Oper Frankfurt since 1999.  He began his work there as a coach, but in 2002 he took on the responsibilities of Director of Musical Studies.  While in Frankfurt he has also enjoyed successes as conductor for Monteverdi’s L’incoronazione di Poppea and Orfeo (2005), Il ballo delle ingrate and Il Combattimento di Tancredi e Clorinda (2006), Händel’s Agrippina (2006), Il ritorno di Ulisse in patria (2007), Ariodante (2007), Almeida’s La Giuditta (2010), Vivaldi’s Orlando furioso (2010 and 2013), and Händel’s Teseo (2012).
Dresden’s Semperoper engaged Mr. Venanzoni to conduct two Intermezzi for their project “Rediscovery of 18th Century Baroque Opera”, La Dirindina (2011-2012) by G. Battista Martini, and Domenico Sarro’s Dorina e Nibbio (2012-2013).  In 2013 he opened the season conducting Purcell’s King Arthur, a co-production between Dresden’s State Theater and the Semperoper, and in 2015 he conducted the world premiere of Lucia Ronchetti’s Mise an abyme, which is based on texts from Metastasio.


Mr. Venanzoni has also participated in the Baroque Festival, “Winter in Schwetzingen”, where he conducted Jommelli’s Fetonte (2014), Zingarelli’s Giulietta e Romeo (2016), and Porpora’s Mitridate (2017).  He has also participated in the Salzburg Festspiel for Claus Guth’s production of Don Giovanni (2008, 2010, 2011) as Musical Assistant and Cembalist under the batons of Bertrand de Billy (’08) and Yannick Nézet-Séguin (’10, ’11).


Over the course of the last several years Mr. Venanzoni has had the opportunity to collaborate as Musical Assistant and playing continuo on projects with Jean-Christoph Spinosi and his Ensemble Matheus.  These projects include opera productions and concerts in Nancy, Madrid, Dortmund, Beaune, Versailles, Quebec City, New York’s Carnegie Hall, Moscow’s Tchaikovsky Hall, Theater an der Wien, and in Paris at the Theatre du Chatelet and the Champs-Elyses.  He returned to the Salzburg Festspiel in 2014 as Cembalist for La Cenerentola starring Cecilia Bartoli.  In that same year he took the podium of the Ensemble Matheus for the first time to conduct Händel’s Xerxes in Stockholm.


At the Ruhrtriennale in 2016, Mr. Venanzoni was Musical Assistant to René Jacobs for Gluck’s Alceste. During the 2017/2018 season Mr. Venanzoni was Guest Cembalist at the Berlin State Opera where he worked with Berlin’s Academy for Early Music, under the direction of Diego Fasolis, for the production of Monteverdi’s L’incoronazione di Poppea. He returned to the Berlin State Opera in the same capacity for the production of Il Giustino in 2022, also under the direction of René Jacobs and with the Academy for Early Music, with whom he also collaborated as soloist in Bach Concertos and in the continuo for Handel’s Messiah (2022).


In addition to these engagements, Mr. Venanzoni has held a teaching position in Recitative Presentation at the Frankfurt University of Music and Performing Arts since 2009.  Opera studio programs and festivals continually engage him to come and coach their young singers.  It is in this vein that he has directed Master Classes and projects for the Opera Studio in Strasbourg and has worked as one of the docents for Opera Programs Berlin and the Mediterranean Opera Studio in Sicily.  Mr. Venanzoni has been responsible for the artistic development of the Opera Studio at Oper Frankfurt since 2017.