Born in Bergamo, Alessandro Ravasio started his musical studies in early
childhood, playing the piano and the saxophone. When he was 18, he
discovered his passion for singing, and after some years of private
lessons, he enrolled in Scuola Civica di Musica Claudio Abbado in Milan,
from where he graduated in 2017. He also holds a degree in Language
Mediation.
He started his singing career in the choirs of several Italian opera
houses such as the Teatro Donizetti in Bergamo and the Teatro Municipale
in Piacenza, where he made his debut on stage as Leporello in Don
Giovanni, Angelotti in Tosca and Sparafucile in Rigoletto.
In November 2018 he sang the role of Talbot in Donizetti’s Maria
Stuarda at the Teatro Sociale in Bergamo alongside Mariella Devia.
Around the same time, he discovered the Baroque repertoire during
masterclasses held by Gemma Bertagnolli, debuting the role of Strabone in
the modern premiere of La vedova ingegnosa by Giuseppe Sellitti.
Over the years, he has sung in different vocal ensembles, such as
Micrologus, Concerto Romano, Accademia d’Arcadia, Fantazyas, Coro
Ghislieri and Cappella Musicale di S. Maria Maggiore (Bergamo) and took
part as a soloist in several productions such as Johannes-Passion
(singing Jesus and the bass arias), Kaffeekantate (as Schlendrian)
and Cantata BWV 61 by Bach, Dixit Dominus, Messiah
and Aci, Galatea e Polifemo (as Polifemo) by Handel, Haydn’s
Nelsonmesse, Monteverdi’s L’Orfeo (Plutone), Cavalieri’s Rappresentatione
di Anima, et di Corpo (Tempo), Bononcini’s Arminio
(Segesto), Stradella’s Ester (Testo), A. Melani’s L’empio
punito (Atrace), J. Melani’s Ercole in Tebe (Giove).
Among his recent engagements: Handel’s Poro, re delle Indie
(Timagene) with Il Groviglio in Versailles; Matthäus-Passion in
Vézelay with Gli Angeli and Stephan MacLeod; Vivaldi’s Magnificat
and Bach’s Cantata BWV 42 with the Orchestra of Teatro La Fenice
and Federico Guglielmo; Monteverdi’s Madrigals at the Stresa
Festival and in Ghent with Michele Pasotti and La Fonte Musica; concerts
with Ghislieri Consort and Giulio Prandi; Sarastro (role debut) in Die
Zauberflöte at Teatro Verdi in Trieste; Bach’s Magnificat in
Lausanne with Il Canto di Orfeo and Weill’s Die sieben Todsünden
with the UNIMI Orchestra conducted by Sebastiano Rolli; Charon in
Monteverdi’s L’Orfeo at the Monteverdi Festival in Cremona and on
a European tour with La Fonte Musica; Monteverdi’s Vespro della Beata
Vergine with Cremona Antiqua on tour; Sprecher in Die
Zauberflöte in Treviso and Padua; Mozart’s Great Mass in C minor
at the Maggio Musicale Fiorentino under Giulio Prandi; Handel’s The
Triumph of Time and Truth at Theater an der Wien; and Landi’s La
morte di Orfeo with Stéphane Fuget in Versailles.
Highlights of the 2025-26 season include: Mozart’s Requiem
with the Orchestra I Pomeriggi Musicali and Diego Fasolis; Carmen
(Zuniga) in Treviso, Padua, and Rovigo; Rossini’s Petite Messe
Solennelle at Teatro Verdi in Trieste; and Landi’s La morte di
Orfeo with Stéphane Fuget at Theater an der Wien.
He has worked with conductors such as Rinaldo Alessandrini, Alessandro
Quarta, Gianluca Capuano, Antonio Greco, Lorenzo Ghielmi, Giulio Prandi,
and performed in festivals such as Purtimiro (Lugo), Monteverdi Festival
(Cremona), Anima Mundi (Pisa), AMUZ (Antwerp), Valletta Baroque Festival
(Malta). He also recorded for Dynamic (Cavalli’s Vespro della Beata
Vergine), Passacaille (Frescobaldi’s motets), Arcana (Celesti
Fiori, motets by Grandi) and Brilliant Classics (Concerti
Spirituali with music by Melani).
August 2025