From the beginning of the career, Francesca Dotto was recognised as one of the most promising sopranos the Italian, but also international panorama. Born in Treviso, she graduated in 2016 the Flute major at the “G. B. Martini” Conservatory in Bologna nel 2006, under the guidance of M° Enzo Caroli. In 2007, she started studying singing with the soprano Elisabetta Tandura, with who she continues to work. After winning numerous international contests, in 2012 she had her debut at Teatro La Fenice, with Puccini’s La Bohème, and since 2013, she’s a constant presence on the stages in Italy, but also abroad, taking part in important productions and collaborating with conductors such as Roberto Abbado, Myung-Whun Chung, Francesco Ivan Ciampa, James Conlon, Riccardo Frizza, Francesco Lanzillotta, Stefano Montanari, Daniel Oren, Donato Renzetti, Daniele Rustioni, Nello Santi, Speranza Scappucci, Omer Meir Wellber and with stage directors such as Henning Brockhaus, Damiano Michieletto, Graham Vick. To be remembered the production of La Traviata directed by Robert Carsten and directed by Sofia Coppola, with costumes by Valentino Garavani, but also about Don Giovanni directed by Damiano Michieletto.
Her career is constantly increasing and her uncountable successes bring her to be the protagonist of the 2020 New Year’s Eve concert live streamed around the world from Teatro La Fenice in Venice. Through the next engagements of Francesca, there are the new productions of Turandot at Teatro dell’Opera di Roma and La Traviata at Ginevra Opera House.
Dear Francesca, before being one of the most promising sopranos of the Italian and international opera world, you have the opportunity to claim yourself a musician: you studied flute at the Bologna Conservatory and graduated this major in 2006. How much does a musical background such as yours help in an opera singer’s career?
It is certainly useful to have start your musical studies from an early age, by studying an instrument, but let’s not forget that singers are also musicians in the real sense of the word, who also have a tough path of studies behind. In general, having a background as an instrumentalist can be very helpful in terms of study methods, musical style and intonation.
Nowadays, the industry of the live performance has lots of different requests from the singers, and not only, so you have to show off all of your skills acquired over the years. Is there something, regarding your approach with your voice, that studying the flute has prepared you for? Do you still play it sometimes though?
I rarely play the flute and when I do it is exclusively to memorise easily a piece or to write some variations. I’ve lost the technique I had when I graduated, but I still have a nice sound, which is the quality that I try to keep also in singing, thanks to the right usage of the breaking, followed by the sensation of an open and soft throat.
Read the entire interview here, in the 8th issue of OPERA Charm Magazine.0