Lucia Cesaroni, Soprano http://www.luciacesaroni.com
Italian-Canadian soprano Lucia Cesaroni has been attracting the attention of discerning audiences worldwide on opera, concert and recital platforms. In La bohème for Pacific Opera Victoria, she was “was sinuous and seductive, projecting movement beyond the footlights and revealed a voice that is smooth, lush and velvety” (Times Colonist). Future projects include Mahler’s Symphony No. 2 for Italy’s Orchestra Sinfonica Nazionale/RAI, Fiordiligi in Cosi fan tutte for Vancouver Opera and a New Year’s Eve Gala for the Guelph Symphony.
Recent engagements include Violetta in La traviata for Pacific Opera Victoria, the title role in The Merry Widowfor Vancouver Opera and Toronto Operetta Theatre, and Donna Anna in Don Giovanni in both Ravenna and Novara under the auspices of the Spoleto Festival. As well, she has appeared as Eleonora in Donizetti’s L’Assedio di Calais with Odyssey Opera in Boston, as Musetta in La bohème with l’Opéra de Montréal, as Susanna in Le nozze di Figaro for the Spoleto Festival under James Conlon and Maria in West Side Story for Vancouver Opera.
Further credits include Micaëla in La tragédie de Carmen with the Bay Chamber Concert Series in Maine as well as her Italian debut in Le nozze di Figaro at the renowned Spoleto Festival dei Due Mondi as Mozart’s heroine Susanna, under the baton of James Conlon.
Ms. Cesaroni has been featured with the Royal Philharmonic, the Montreal Symphony, the Aldeburgh Festival, the Victoria Symphony, Opera di Ravenna, Teatro Coccia di Novara, Saskatoon Opera, and VOICEBOX: Opera in Concert, where she created the role of Isis in the world premiere of Isis and Osiris by Togni/Singer.
Hailed by the Globe and Mail’s Robert Harris for her “beautiful, powerful voice [ably] capturing a large emotional range with great success”, her roles include Woglinde in Das Rheingold, Liù in Turandot, Pamina in Die Zauberflöte, Gilda in Rigoletto, Juliette in Roméo et Juliette, Norina in Don Pasquale, Anne Trulove in The Rake’s Progress, Cleopatra in Giulio Cesare and Yum-Yum in The Mikado. As a concert artist, she has been heard in Carmina Burana, and Messiah as well as in recital with Rachel Andrist and Allyson McHardy in their programme celebrating 19th Century bel canto stars, You’re Welcome, Rossini.
Born in Toronto and holding a Master’s Degree in Opera from the University of Toronto, she is an Alumna of the Steans Institute at the Ravinia Festival, the Britten-Pears Festival and Young Artists programme.
|Bernstein||Maria||West Side Story|
|Bizet||Leila||Les Pêcheurs de Perles|
|Britten||Lucia||The Rape of Lucretia|
|Donizetti||Norina *||Don Pasquale|
|Donizetti||Adina *||L'Elisir d'Amore|
|Gounod||Juliette||Roméo et Juliette|
|Mozart||Donna Anna, Zerlina||Don Giovanni|
|Mozart||Susanna||Le Nozze di Figaro|
|Mozart||Pamina, Die Erste Dame||Die Zauberflöte|
|Puccini||Mimi, Musetta||La bohème|
|Puccini||Suor Genovieffa||Suor Angelica|
|R. Strauss||Sophie||Der Rosenkavalier|
|Stravinsky||Anne Trulove||The Rake's Progress|
|* Suggested Repertoire|
It’s Cesaroni who is the unquestionable cynosure of the whole show. She’s almost continuously onstage, front and centre, with the whole gaudy cast and scenography revolving about her. Amazingly enough she even manages somehow to revolve about herself, coquettishly swivelling her svelte form in places where the rest of us aren’t even jointed.
She can dance apace with the chorus line pro’s, cut coloratura shines and then turn around and invest an old chestnut like Lehàr’s Vilja ballade with genuine feeling. No wonder the Count succumbs in the end. Starting with a dessert like that, how could he – or we – resist the Merry Widow’s full-course menu?”
Lucia Cesaroni as Hanna Glawari, the eponymous Widow pranced around the stage like a princess, positively glowing in the attention of her numerous male suitors. She was animated and lively throughout, and her “Vilja” was warm and full, telling the story beautifully of the lovestruck water nymph. Her playful mocking of Danilo as she imitated a cavalry horse was whimsical and hilarious.”
“Lucia Cesaroni, was bold as brass and just as brilliant. Neither libretto, music, nor directorial concept allowed much opportunity for Cesaroni to plumb any hidden depths in her part, but shine she did as she gamely stole the show every chance she got.”
“Lucia Cesaroni gives her a strength and sass that go a long way to making the silliness feel more modern. She’s also gifted with a warm, charismatic range, and turns the second-act favourite “Vilja Song”, with the help of a mesmerizing chorus, into a lustrous gem.”
“Cesaroni proves herself both a fine singer and actor. Her Mimi (or at least, her healthy Mimi) was sinuous and seductive. Cesaroni has an expressive face and a gift for projecting movement beyond the footlights. Her rendition of They Call Me Mimi revealed a voice that is smooth, lush and velvety.”
“Two of the three leading roles were exceptionally well-served by Canadians James Westman and Lucia Cesaroni. Cesaroni—an affecting actress, and a voice new to me—sang stylishly with a bright, vibrant sound that didn’t exclude colour or depth.”
“The soprano Lucia Cesaroni gave a moving, stylish performance as his daughter-in-law Eleanora. (Director) Major perhaps wisely made her the central emotional figure of the piece…”
“The staging did set up Lucia Cesaroni, as the mayor’s daughter-in-law Eleonora, as the opera’s heart and soul. Making her Odyssey debut, she was an elegant Madonna with a sensuous, plangent voice.”
“Lucia Cesaroni’s mellow, amber timbre gives a high mezzo tint to her lower and middle voice and a firm foundation for the secure soprano extension which grows out of it, organic and not tacked on. When she blended with the polished onyx of Magda Gartner’s Aurelio for Act 2’s “Io l’udi a chiamarmi a nome” with its elaborate cadenza, the timbres married like the characters they embodied. Both women expertly and judiciously embellished the duet’s cabaletta repeat.”
Isis & Osiris - World-Premiere
“Lucia Cesaroni was a fine Isis, with a beautiful, powerful voice, capturing a large emotional range with great success.”
“As Isis, Cesaroni was a revelation. Her incomparable voice flew throughout the Jane Mallett with ease and aplomb, and I’ve said this before, she just gets better every time I hear her. Her darker colour belies the height and beauty she can achieve at the top of her register and every note is properly placed and spins and sparkles. She brought strength and vulnerability, showing the duality of the divine and human that is unique amongst the Egyptian deities. It was a beautiful performance, bravissima.”
“There was a very strong quartet of soloists playing the siblings. Michael Barrett was in fine voice as Osiris and Lucia Cesaroni’s darkish soprano was perfect for his sister consort. She looked stunning too.
“Barrett and Cesaroni spend much of the opera in very separate worlds. Isis reminds me of Juliet and Cleopatra, a pair of lovers who really come into their own in the second half of their respective plays; similarly Isis becomes the most important person in this opera in the second act, as she seeks out Osiris. Cesaroni was very much up to the dramatic task, and sounded wonderful.”
The Rake’s Progress
“Lucia Cesaroni’s Anne is true in pitch, lovely in sound.”
“The voice of the young soprano Lucia Cesaroni at first seems larger, deeper, more mature than one might expect in the role of Anne Trulove…As the story unfolds, the richness of Cesaroni’s voice pays dramatic dividends, underscoring Anne’s depth and passion and growth as a person. The strength of Anne’s resolve is palpable in a commanding account of her cabaletta which culminates in a hall-filling high C.”
“At the tender age of 26, and less than two years out of her schooling, Lucia Cesaroni looked and sounded just like Anne Trulove as Stravinsky and his librettists W.H. Auden and Chester Kallman must have conceived her–sweet, loyal, lyrical, and totally grounded in her sincerity and seriousness.”
“Lucia Cesaroni is a stunning Cleopatra. Her voice has just enough wildness to lift the impulsive nature of the youthful character to that intangible level that separates good from great… ‘V’adoro pupille’, which opened the second act was ravishing.”
“Cesaroni’s is an artfully complex Cleopatra…[she] certainly knows how to hit just the right note.”
West Side Story
“Cesaroni looks and sounds the part of the newly-arrived Maria, innocent and charming, and her voice has attractive dark undertones that give her a hint of otherness.”
“Soprano Lucia Cesaroni is perfectly cast as Maria. A fiery and convincing actress, Cesaroni the singer has a rich, dark voice and a vocal maturity that makes her do-or-die passion obvious. That there’s a light/dark contrast between tenor and soprano adds in another dimension; both principals understand Bernstein’s soaring lines and have the voices and training to present the music as it surely was meant to be sung. Their abilities to confidently deal with the full range of Bernstein’s sublime music alone justifies Vancouver Opera’s hybrid approach and validates its claim to the work.”
“Cesaroni, who has a rich, sonorous voice, has an exuberance that, when kept in check, is infectious.”
“The real star was the music itself with the Royal Philharmonic playing its socks off for conductor Walter Haupt and his soloists…in the pure-toned soprano from Canada, Lucia Cesaroni.”
MediaJe dis que rien ne m'épouvante, Carmen, Bizet 2019
Libiamo with Andrea Bocceli, December 2018
Che Bella Serata with Andrea Bocceli, Deccember 2018
Or sai chi l'onore, Don Giovanni, W.A. Mozart
Non mi dir from "Don Giovanni", Spoleto Festival, 2017, conducted by James Conlon.
Deh, vieni non tardar at Spoleto Festival dei Due Mondi 2016 - Lucia Cesaroni, Soprano
Ch'il bel sogno di Doretta
Bel raggio lusinghier (Queen Sonja Competition) - Lucia Cesaroni
Ah, fors'è lui...Sempre libera, La Traviata, Verdi
Quando m'en vo, La bohème, Giacomo Puccini
Je veux vivre, Roméo et Juliette, Charles Gounod
In trutina, Carmina Burana, Carl Orff
Dulcissime, Carmina Burana, Carl Orff