Anicio Zorzi Giustiniani - Tenore - W Print

Anicio Zorzi Giustiniani was born in Florence, Italy. A violinist for many years from a very young age, his focus shifted to singing shortly thereafter.

His vocal studies began at Conservatorio Luigi Cherubini in Florence and after under the guidance of Fernando Cordeiro Opa and Silvia Bossa. His singing debuted occurred at Teatro della Pergola in Florence in 2001 as a soloist in Charpentier’s Te Deum. He has been recognized in numerous competitions, including the 6th Sacred Music International Competition in Rome and at the 39th International Singing Competition Toti Dal Monte in Treviso for the main male role in La Vera Costanza by Haydn.

He subsequently debuted this opera in theaters of Madrid, Treviso, Reggio Emilia and Liège. He has performed many lead roles throughout major international opera houses, including: Mozart’s Così fan tutte- Ferrando, and Don Giovanni-Don Ottavio, and Rossini’s Il Barbiere di Siviglia- Conte Almaviva, at Teatro La Fenice, Bellini’s I Capuleti e i Montecchi-Romeo (tenor version) at the Royal Opera House of Muscat, Mozart’s Betulia Liberata Ozìa, under Riccardo Muti at the Salzburg Festival and the Ravenna Festival, Mercadante’s I Due Figaro- Il Conte Almaviva and Torribio, under Riccardo Muti at the Teatro Real de Madrid, the Salzburg Festival, the Ravenna Festival and the Teatro Colon in Buenos Aires, Lehar’s Die lustige Witwe-Camille de Rossillon, at the Teatro Filarmonico di Verona and at the Teatro Petruzzelli in Bari, Handel’s Alcina-Oronte, in the Opéra des Nations in Geneva, Die Zauberflöte- Tamino, in the Opéra Royal de Wallonie in Liège and at Teatro La Fenice and Teatro Verdi in Salerno; Handel’s Giove in Argo, title role, at the Theater an der Wien in Vienna; Donizetti’s Don Pasquale- Ernesto, at La Monnaie in Bruxelles, Gluck’s Alceste- Evandro, for Ruhrtriennale with René Jacobs, Monteverdi’s Orfeo in Lausanne in a new production of Robert Carsen, Cimarosa’s Il Matrimonio segreto, Paolino, in Nancy, Opéra National Lorraine, Mozart’s Così fan Tutte- Ferrando, in Drottningholm, Versailles and Bucarest with Mark Minkowski and in Lille with Emmanuele Haim, Mozart’s Don Giovanni-Don Ottavio, at the Opéra de Lausanne, in La Fenice and at the Opera of Roma, Monteverdi’s Il ritorno di Ulisse in Patria-Telemaco and Giove, in european tour with René Jacobs, Falstaff in Chicago with the Chicago Symphony Orchestra conducted by Riccardo Muti, Handel’s Alcina- Oronte, in Montecarlo, Toulouse, Versailles with Philippe Jaroussky and Ottavio Dantone and in Geneva and Glyndebourne Festival, Lucrezia Borgia-Gennaro, in Sankt Gallen staged by Tobias Kratzer, Gluck’s Le cinesi at the Palau de les Arts in Valencia with Fabio Biondi, Europa Galante, Don Pasquale- Ernesto, in Bruxelles, La Monnaie and in la Maestranza in Sevilla, Mozart’s Idomeneo- Idamante, at the Teatro Real in Madrid, Bach’s Matthew’s Passion (Evangelist) with Marc Minkowski in European tour, Il flauto magico in Salerno, Les Indes galantes and Les Huguenots in Geneva, Mozart’s Così fan tutte at Palau de les Arts in Valencia, Monteverdi’s Il ritorno di Ulisse in Patria-Telemaco, at Teatro del Maggio Musicale Fiorentino, staged by Robert Carsen. Other recent engagements are worth mentioning: Mozart's Requiem in Vienna and Brussels; Albinoni's Zenobia at the Theater an der Wien.

He worked with important conductors such as Riccardo Muti, Michele Mariotti, Alessandro De Marchi, Paolo Arrivabeni, Marc Minkowski, Emmanuelle Haim, Alain Altinoglu, Ivor Bolton, Pietro Rizzo, Hubert Soudant, Jeffrey Tate, Stefano Montanari, Ottavio Dantone, René Jacobs, Leonardo Garcia Alarcòn, Antonello Manacorda, Jesùs Lopez Cobos, Fabrizio Maria Carminati and stage directors such as Robert Carsen, Damiano Michieletto, Laurent Pelly, Emilio Sagi, Gabriele Lavia, Arnaud Bernard, Tobias Kratzer, David Bösch.

Has has recorded for: Deutsche Grammophon (Haendel’s Ezio, conducted by Alan Curtis), Emi Virgin (Haendel’s Berenice, Giove in Argo and Ariodante, conducted by Alan Curtis), Glossa (Monteverdi’s Il ritorno di Ulisse in patria, title role, conducted by Claudio Cavina and Caldara’s Morte e sepoltura di Cristo conducted by Fabio Biondi), Bongiovanni (Moneta’s Il conte Policronio), Hyperion (Cesti’s Le disgrazie d’amore), Ducale music (Mercadante’s I due Figaro, conducted by Riccardo Muti), Naxos (Morlacchi’s Tebaldo e Isolina, conducted by Antonino Fogliani), Dynamic (Hasse’s Artaserse).

Plans include: Il Ritorno di Ulisse in Patria at the Festival Monteverdi in Cremona; Scarlatti's Sedecia at La Chaise Dieu Festival with Les Accent and Thibault Noally; series of baroque concerts at the Biennale in Venice; Pulcinella in Bozen with the Haydn Orchestra.

May 2022

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