Mattia Denti: The most important thing is to always be vigilant, to listen carefully, and to understand if the path you are taking brings benefits, improvements, and if the voice is developing and maturing healthily.

In 2004, MATTIA DENTI, made his International debut performing Barone di Trombonok in Viaggio a Reims and of Lucio Silano in La Vestale by Mercadante at the Wexford Opera Festival. Since then he has performed in some of the most prestigious opera houses around the world, Teatro Comunale di Bologna (La Traviata under the baton of Maestro Daniele Gatti), Teatri di Modena, Reggio Emilia and Ferrara (Peter Grimes), Teatro Verdi di Trieste (Mondo della Luna by Paisiello), Orchestra Arturo Toscanini (Carmen) La Fenice di Venezia (La Traviata), Wiesbaden (La Traviata), Beijing (La Traviata) and at the Teatro alla Scala (La Traviata). His repertoire includes Sparafucile in Rigoletto, Commendatore in Don Giovanni, Tom in Un Ballo in Maschera, Simone in Gianni Schicchi, Zio Bonzo in Madama Butterfly, Gran Sacerdote in Nabucco, The Gambler at the Teatro alla Scala conducted by Daniel Barenboi annd Boris Goudonov al Teatro Fenice under the baton of M° Inbal. In this past season he has performed Zaccaria in Nabucco alongeside Leo Nucci, at the Teatro Comunale Luciano Pavarotti, La Bohème (Colline) at the Teatro Municipal di San Paolo in Brasil, La Wally (Pedone), Attila (Leone), Rocheford in a new production of Anna Bolena at the Teatro alla Scala, Fiesco in Simon Boccanegra, Oroveso (Norma) at the Teatro Filarmonico di Verona and Don Basilio in Il Barbiere di Seville.

Dear Mattia, it’s a pleasure to chat with you. How are you? Where do my questions find you at this exact moment?

Hi Alice. First of all, I must thank you all for this great opportunity, for your magnificent work and for the passion and attention you put into Theatre, Music and Lyric in particular.

Let’s start from the begginning: when do you decided that you wanted to become an opera singer? 

My passion for Lyric began early, thanks to my professor of Music Education in middle school who insisted with us, in class, alternating the theory and study of the history of music, direct listening to classical and lyrical songs, then asking us either to comment (creating discussions in class), or to graphically represent the sensations and thoughts that listening had prompted us, or writing. From there the curiosity became more and more to the point that my “paghettes”, I spent them in the only store in Piacenza that sold the recordings and I went home quickly to be able to listen to them, understand them, be amazed. Let’s say that involuntarily I have always been routed because dear family friends were great song singers fellow citizens of the past: Gianni Poggi, Flaviano Labò, Carlo Torregiani and Piero Campolonghi (the latter was the one who listened to me secretly while I in the room, at the age of 14, tried to sing for imitation “above. From there then, for family reasons, I had to interrupt my training until then, I decided that the time had come to really fulfil the dream of being able to take the stage.

Do you remember your first singing lesson? Who guided your first steps on this path?

Let’s say my first real singing teacher, who trained me musically and mentally, was the soprano Gabriella Ravazzi; she referred me to my voice record. Then I had the opportunity to delve into the technical, musical and interpretive aspects, with many other great names in the lyric panorama.

Read the entire interview here, in the 8th/2022 issue of OPERA Charm Magazine.

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