Ilenia Cipollari is an Italian-British vocal performer, performance-maker, researcher, and intimacy coordinator working at the intersection of voice, archive, relational intimacy, and storytelling across forms.

Her work explores voice as a living archive of memory, myth, and polyphony, creating contemporary ritual performances that move between music, theatre, and scholarly research.

She trained in jazz vocals at the Mabellini Conservatory of Pistoia, Italy, and has extensive international experience in avant-garde theatre companies and early music.

She was a long-term collaborator of Song of the Goat Theatre Company, working with artists such as Gambian multi-instrumentalist Sona Jobarteh, Corsican male polyphonic ensemble A Filetta, and jazz singer Anna Maria Jopek. From 2019 to 2024 she collaborated with the Musarc choir collective, performing works by Holly Herndon, Jennifer Walshe, Neil Luck, and others under the direction of Jack Sheen, David Young, Cathy Heller Jones, and with Melanie Pappenheim.

From 2023 to 2025, she was a member of Idrîsî Ensemble, a music collective dedicated to the performance and study of rare, previously unrecorded medieval repertoire through music archaeology, medieval literature, and postcolonial historiography. With Idrîsî, she explored repertoires spanning ancient Greek polyphony, Old Roman chant, Corsican traditions, and Troubadour song.

Her performance career includes appearances at Bold Tendencies, LCMF (London Contemporary Music Festival), Leuven Artefact Festival, the International Festival of Chamber Music in São Paulo, Yale Repertory Theater’s No Boundaries series, Tbilisi International Theater Festival, Battersea Arts Centre, Edinburgh Fringe Festival, Norfolk & Norwich Festival, Tramway Arts Centre, and multiple editions of BRAVE Festival.

Recent milestones include selection as a BloomsburyFestival New Wave Artist in both music (2025) and theatre (2026), and the BritishSchool at AthensArtsResidency (2025), where she developed new archive-based vocal work on myth and historical voice.

Alongside her performance and research practice, she has undertaken industry-accredited training in intimacy coordination with the Intimacy Professionals Association (IPA, 2025–26), extending her trauma-informed, body-centred approach across theatre, live performance, film, and television. Across these strands, her work is concerned with voice, atmosphere, intimacy, and the ethical shaping of story worlds.