Christian Federici
Born in 1987 in Trieste, Christian Federici made his debut as Conte d’Almaviva Le nozze di Figaro at Teatro Bonci in Cesena directed by Matelda Cappelletti and conducted by Claudio Desderi with whom he had studied at the Scuola di Musica in Fiesole. In October 2017 he returned to Teatro Bonci to sing the title role in Don Giovanni (Desderi/Cappelletti).
In 2019 he made his debut in France singing Conte d’Almaviva Le nozze di Figaro at the Opéra de Marseille (Shanahan/Boussard). In 2021 he made his debut for Opera Hong Kong as Sharpless Madama Butterfly (Abel/Maestrini) and sang the same role for Opéra de Avignon (Jean/Benoin). Roles in 2022 included Jake Wallace La Fanciulla del West in Pavia, Como and Cremona (Galli/Cigni), Turbo in Hadrian by Rufus Wainwright at Teatro Real, Madrid, Escamillo in Kiel, Mozart’s Don Giovanni (title role), and Don Alfonso Così fan tutte in Ravenna, Rimini and Salerno. In 2023 he made his debut at Teatro all Scala as Roberto I vespri siciliani, and sang Figaro Le nozze di Figaro and Riccardo I puritani (Catania), Marcello (Ravenna), Morales Carmen (Arena di Verona), and the title role Don Giovanni (Trieste).
He has sung in important festivals in Italy including the Piccolo Festival of Friuli Venezia Giulia, the Ravenna Festival, Donizetti Festival in Bergamo and the Puccini Festival in Torre del Lago.
In concert he has sung Mozart’s Krönungsmesse, Charpentier’s Te Deum and Messe de Minuit, Bach’s Magnificat and Matthäuspassion, and Rutter’s Mass of the Children. He has given recitals of Mahler’s Kindertotenlieder, Schubert’s Winterreiseand Schumann’s Dichterliebe with several pianists such as Filippo Gorini and Riccardo Risaliti.
Christian Federici studied piano from the age of six, receiving diplomas from the Conservatories “G. Tartini” in Trieste and “J. Tomadini” in Udine. In 2013 he graduated in Computer Science at the University of Udine. He began studying voice in 2015 with the tenor Federico Lepre, and then with Claudio Desderi, Patrizia Ciofi and Gianfranco Montrésor.
Earlier this year he sang Enrico Lucia di Lammermoor (Catania), made his debut at the Royal Opera House as Angelotti Tosca and sang Sharpless (Shanghai Opera). Plans for the rest of the year include his Glyndebourne debut as Giorgio Germont La Traviata, Figaro Le nozze di Figaro (Teatro Regio di Torino) and Marcello (Sassari).
Gallery
Le Nozze di Figaro (Marseille)
Le Nozze di Figaro (Treviso)
Lucia di Lammermoor (Catania)
Marcello (Ravenna)
Don Giovanni (Ravenna)
Sharpless (Avignon)
Giorgio Germont (Glyndebourne)
Artist Videos
La Traviata/Glyndebourne
“Christian Federici proved a revelation as Germont père, his mellifluous timbre as easy on the ear as it was subtly expressive of the taciturn and conflicted figure he played.” Opera Magazine, January 2025
“Christian Federici completes the trio of Italian principals…Federici is as fine a baritone in this role as I have heard. Exquisitely rich, clarion, and beautifully orotund, he possesses a remarkable instrument…He presents as an austere, business-like authoritarian, but melts into compassion in his interactions with Violetta, his voice displaying evocative phrasing and color” OperaWire, October 2024
“Christian Federici is wonderful as Giorgio Germont — a man doing what he believes is right, however misguided — and gives an authoritative performance full of shade and nuance.” The Times, October 2024
“That lack of connection is thrown into stark contrast by the exhilarating, star-making performance by Christian Federici in his Glyndebourne debut as the villain of the piece, Père Germont. His beautifully phrased, ideally controlled singing commands the action seemingly without effort, and physically he makes complete dramatic sense of a man who goes badly wrong while trying to do the right thing. His relationship with Violetta is as vivid as it is, phrase by phrase, utterly touching.” The Stage, October 2024
“In the two big confrontations, meanwhile she is matched, in the other great performance of the night, by Christian Federici’s Germont. Handsome of voice and presence, he sings with unforced lyricism and exemplary dynamic control. Di Provenze, given in this instance in full, can so often seem anticlimactic after everything that has gone before, but here we really sit up and listen. He’s a good actor, too, giving us a finely considered – and unusually sympathetic – portrait of a man confronting the disastrous consequences of his own inflexible morality”. Guardian, October 2024
Tosca/Royal Opera House
“Political prisoner Cesare Angelotti is played here by Christian Federici, a remarkably strong and vibrant baritone who sang with both conviction and ardour, and whose resplendent tone deserves to be heard more frequently on this stage.” Opera Wire, July 2024
Opera Repertoire
| COMPOSER | OPERA | ROLE |
|---|---|---|
| Bellini | Beatrice di Tenda | Filippo |
| Bellini | I Puritani | Riccardo |
| Bizet | Carmen | Escamillo |
| Donizetti | Don Pasquale | Malatesta |
| Donizetti | L'elisir d'amore | Belcore |
| Donizetti | Lucia de Lammermoor | Enrico |
| Giordano | Andrea Chénier | Gerard |
| Korngold | Die tote Stadt | Frank-Fritz |
| Leoncavallo | Pagliacci | Silvio/Tonio |
| Mozart | Così fan tutte | Guglielmo |
| Mozart | Don Giovanni | Don Giovanni |
| Mozart | Le Nozze di Figaro | Il Conte d'Almaviva |
| Puccini | La Bohème | Marcello |
| Puccini | La Fanciulla del West | Jake Wallace |
| Puccini | Madama Butterfly | Sharpless |
| Puccini | Tosca | Scarpia |
| Rossini | Il signor Bruschino | Gaudenzio |
| Stravinsky | The Rake's Progress | Nick Shadow |
| Verdi | Rigoletto | Rigoletto |
| Verdi | La Traviata | Giorgio Germont |
| Wainwright, Rufus | Hadrian | Turbo |
