Giovanni Romeo


The Milanese low-baritone Giovanni Romeo is one of the youngest Italian talents who have establishing themselves on the most important opera stages worldwide, such as Teatro alla Scala in Milan, Auditorium Rai in Turin, Teatro Massimo in Palermo, Carlo Felice in Genoa, Malibran (Gran Teatro La Fenice) in Venice, Filarmonico in Verona, Teatro Verdi in Salerno, Bolshoi Theatre in Moscow, Opéra de Monte-Carlo, Deutsche Oper Berlin, NCPA in Beijing, ABAO in Bilbao, Royal Opera House Muscat, Opera de Oviedo and many others.

He began his studies in opera singing at the age of fifteen with soprano Cristina Dominguez, and he improved his skills at the Teatro alla Scala Academy with Luciana D’Intino, Luciana Serra and Renato Bruson, thanks to the special “Paolo Montarsolo” scholarship.

He began his career with the “Laboratorio lirico del 700” at the Bibiena Theatre in Mantua debuting as Uberto in Paisiello’s La Serva Padrona and as Geronimo in Cimarosa’s Il Matrimonio Segreto, under the direction of the famous comic bass Enzo Dara, with whom he specialized in comic roles; many consider him as his artistic heir.

Afterwards, he debuted many Mozart and Donizetti roles, both as bass and as baritone buffo, thanks to his vocal extension and flexibility. He took part in some of the most important international opera projects for young singers like “l’Ópera Estudio” in Tenerife, as well as in festivals such as the “Young Singer Project” in Salzburg, the Donizetti Festival in Bergamo and the “Vicenza Festival in lirica”.

But the real success came with Rossini. His Dr. Bartolo from Il Barbiere di Siviglia led him to perform on the major opera houses in Italy and abroad. Among these, Jean Pierre Ponnelle’s famed production at Teatro alla Scala, in which he joined Leo Nucci and Ruggero Raimondi.

Among his signature funny roles, Don Magnifico in La Cenerentola and Barone Trombonok in Il Viaggio a Reims by Rossini; the title role in Don Pasquale, Dr. Dulcamara in L’Elisir d’Amore and Sulpice in La fille du régiment by Donizetti; Don Alfonso in Così fan tutte and Papageno in Die Zauberflöte by Mozart.

His vocal and dramatic versatility ranges as far Schaunard in Puccini’s La Bohème and Sancho Panza in Massenet’s Don Quichotte.

He worked with prestigious conductors such as Antonello Allemandi, Andrea Battistoni, Riccardo Chailly, Gabriele Ferro, Giuseppe Finzi, Pier Giorgio Morandi, Marco Pace, Stefano Ranzani, Carlo Rizzi, Federico Maria Sardelli, Keri-Lynn Wilson, Massimo Zanetti, and with important directors, such as Lorenza Cantini, Fabio Cherstich, Renaud Doucet & André Barbe, Jean-Louis Grinda, Gino Landi, Pier Francesco Maestrini, Mario Martone, Evdeny Pisarev, Gabriele Salvatores, Maurizio Scaparro and many others.

Future engagements include Il turco in Italia at Opéra de Monte-Carlo and at Wiener Staatsoper, the US debut at Atlanta Opera as Bartolo in Il Barbiere di Siviglia.