He was born in Viterbo and completed his professional training in Rome with Paola Leolini. In 2010, aged just 24, he won the first prize and the prize of the audience at the prestigious Hans Gabor Belvedere International Competition in Vienna. That same year he took part in the Salzburg Festival Young Singer Project. This marked the start of his international career, performing as Count Almaviva in Mercadante’s opera I due Figaro under conductor Riccardo Muti at the Salzburg Whitsun Festival, at the Ravenna Festival and at the Teatro Real in Madrid. Following this, he was Alfredo at the New National Theatre in Tokyo under the baton of Yves Abel, at the Teatro Filarmonico in Verona and at the Teatro La Fenice in Venice. He has performed as Nemorino at the Teatro dell’Opera in Rome and the Teatro Comunale in Bologna, at the Teatro Real in Madrid, at the Staatsoper in Berlin and in Graz and as Fenton at the Bayerische Staatsoper in Munich under conductor Daniel Harding, and also at La Scala in Milan, in Tokyo, at the Teatro San Carlo in Napoli under Pinchas Steinberg and at the Glyndebourne Festival conducted by Mark Elder. Other performances include Tamino in Bari and Venice, Don Ottavio at the Chicago Lyric Opera conducted by Sir Andrew Davis, at the London Royal Opera House under Nicola Luisotti, at the Teatro La Fenice in Venice, the Staatsoper in Hamburg and in Graz. He has been Cassio under conductor Bertrand de Billy at the Chicago Lyric Opera and, conducted by Sir Antonio Pappano, at the London Royal Opera House. He has also performed in the role of Ismaele under conductor Riccardo Muti in Rome and Tokyo and as Macduff, again conducted by Maestro Muti, both at the Rome Opera and at the Salzburg Festival.
Dear Antonio, it is a pleasure to have you in the spotlight for OPERA Charm Magazine. Before we discuss opera, we open this interview with the less visible part on the stage. What makes a good soloist, apart from an exceptional performance?
Study, dedication, the constant desire to improve and then what you don’t learn, and that is being an artist.
You will perform the role of Mario Cavaradossi in Tosca at this year’s Macerata Opera Festival. What does this role mean to you? It means a lot to me because, even if I have been singing for over 15 years, Cavaradossi is only the second Puccini role I’m singing, after Pinkerton. It is a part that gives you enormous satisfaction, there is romance and drama intertwined throughout the opera. Performing this role here at the Sferisterio is a unique gift.
The cinema world will unite the Macerata 2022 Opera Festival program on many levels. The new production of Tosca will take place in a 1950s film set, directed by Valentina Carrasco, sets by Samal Blak, costumes by Silvia Aymonino, and lights by Peter van Praet; What are your thoughts on this production?
I can’t reveal much about the production, but we are working at a frantic pace to make it as real as possible and trying not to make clear where reality begins and fiction ends and vice versa. I didn’t personally know Valentina Carrasco and I must say that I find her brilliant. Plus, the great thing is that in creating all of this we are having so much fun!
Read the entire interview here, in the 5th/2022 issue of OPERA Charm Magazine.0