Silvia Tro Santafé – Mezzo Soprano


“Thrilling top notes; dark resonance below; unfailingly expressive.”  The Times

Spanish Mezzo-soprano Silvia Tro Santafé has established a major reputation with audiences and leading opera houses over the world. Her repertoire ranges from the Baroque to the 21st century, but above all she is recognised as one of today’s finest exponents of Rossini and the Bel Canto. Her Rosina (“big warm notes which, as the voice ascended, opened out to reveal a shining secure top” Washington Post) and Cenerentola have been heard in Vienna State Opera, Berlin, Zurich, Amsterdam, Washington, Palermo, Bologna and Munich and her Italiana in Teatro alla Scala, Teatro Real Madrid, Amsterdam and Zurich. Seria roles include Arsace SEMIRAMIDE (Napoli – “nella parte di Arsace è apparsa la migliore per fluidità di canto e adesione al personaggio” La Repubblica) Malcom LA DONNA DEL LAGO and, recently recorded for Opera Rara, Arsace AURELIANO IN PALMIRA (“technically impeccable and generous of tone” The Guardian). Over the last seasons her repertoire has extended to Bellini’s Adalgisa NORMA in Berlin and Brussels (“Silvia Tro Santafé fait merveille,elle évolue en souplesse sur toute la tessitura: l’aigu s’envole clair et tender et ses duos avec Edita Gruberova respirent d’une subtile harmonie d’inflexions communes” Le Soir), Romeo CAPULETI at the Munich State Opera and Isoletta LA STRANIERA in Moscow. Her Donizetti repertoire includes Orsini LUCREZIA BORGIA, in Brussels, Munich and recorded with Edita Gruberova, Sara ROBERTO DEVEREUX, Giovanna Seymour ANNA BOLENA, and most recently Elisabetta MARIA STUARDA at the Opera Liceu in Barcelona (“Her interpretation grew through the performance, showing the hate, the evil of the character with a fearless passion” El Pais).


She has recorded and performed many of the greatest roles of the Baroque including the title roles of XERXES (Champs Elysées) RINALDO (Berlin State Opera) ARIODANTE (Barcelona) and has appeared as Polinesso ARIODANTE (Salzburg Festival, Paris Opera) Tolomeo GIULIO CESARE (Netherlands Opera). Recent concert performances have included Verdi REQUIEM (Hamburg) Rossini STABAT MATER (Royal Liverpool Philharmonic).


Recent highlights of her wide repertoire on CD and DVD include Händel’s DEIDAMIA (Netherlands Opera – “sang like a god, with a warm voice suffusing both her legato and dazzling coloratura, a combination of Horne and Berganza” Mundo Clásico “If heroism is measured in vocal terms, the palm goes to Silvia Tro Santafé for her firm, vibrant singing of Ulisse” New York Times) to Massenet’s DON QUICHOTTE (La Monnaie – “une Dulcinée souveraine – par la puissance, par la couleur, par la precision du contrôle…” La Libre). Her recent solo recital discography was acclaimed, SPANISH HEROINES (Signum Classics “Et avec quelle puissance d’émotions elle l’emporte! Juste la voix sur de grandes lignes mélodiques, entrecoupées d’envolées lyriques. Une magnifique interpretation” Harmonia Mundi “an impressive voice and sound vocal technique” International Record Review) and ROSSINI MEZZO (Signum “attacking the myriad notes with accuracy, with no suggestion of cheating by insertion of aspirates. To these strengths can be added her breath control…impressive” Record Review  “a most impressive recital” Gramophone Magazine)

Future plans include a return to the Teatro Real Madrid for productions of Mozart LUCIO SILLA and Donzetti ROBERTO DEVEREUX and a return to the role of Charlotte WERTHER in Las Palmas and to the role of Orsini at the Munich State Opera.

January 2015


MAY 2017  | News |


personaggi e interpreti: Elisabetta, regina d’Inghilterra: Silvia Tro Santafe


May 2017


17, 21 y 24 of May.

Rol: Elisabetta regina d’Inghilterra.





The work has always shown vigorous feelings and absolute passions. Mary Stuart of Donizetti is an extreme example. In the comparison between the two queens of the second act, Elizabeth I of England criticizes her cousin Maria Stuarda for her private and political behaviors, and this answers her with a verbal violence that has no comparison in the libretto of the ' Era: epithets that Maria Malibran, first interpreter of Maria Stuarda's character in the performance of the opera at Scala (1835), insisted on singing, triggering the reaction of the authorities, who canceled the title from the bill after just six replies: one of the most Celebrated censorship in the history of the opera. The linguistic transgression of the good rules of the librettic language was probably due to the inexperience of the author of the text (taken from the tragedy of the same name by Schiller), Giuseppe Bardari, just seventeen. A provisional youth unconscious, because thanks to Bardari (who will become a magistrate and patriot admired by Garibaldi), Maria Stuarda contains the strongest scene among two female figures throughout the story of the opera: one of those moments when Donizetti , Capable of lightness as in the Elisir of love and in Don Pasquale, precursors the most dramatic Greens. Green is also the opposition between private sentiments and public office, as well as the putting into play, in the vicissitudes of individuals, of collective values ​​of historical importance: the Protestant Elizabeth against Catholic Mary Stuart. But Maria Stuarda is above all Donizetti's latest tribute to the woman, her emotional depth and her character richness, translated into music through the style of belcanto: Mary as Anna Bolena, like Lucia, like Elisabetta by Roberto Devereux.


Donizetti's masterpiece is on stage in a co-production by Teatro Carlo Felice and the Reggio di Parma Theater and is the second chapter of the Donizetti's "three queens" cycle, which began last season with Roberto Devereux, whose directorship is entirely curated by Alfonso Antoniozzi.


NB The current image on the site refers to a sketch of Monica Manganelli




Vincenzo BELLINI

Isoletta in La Straniera

Romeo in Capuleti ed I Montecchi

Adalgisa in Norma


Francesco Cavalli

Eliogabalo in Eliogabalo



Giovanna Seymour in Anna Bolena

Maffio Orsini in Lucrezia Borgia

Elisabetta I in Maria Stuarda

Sara in Roberto Devereux

Leonora in La Favorita

Pierotto in Linda di Chamonix



Rinaldo in Rinaldo

Sesto and Tolomeo in Giulio Cesare

Medoro in Orlando

Ariodante and Polinesso in Ariodante

Ruggiero in Alcina

Amastre in Serse

Ulisse in Deidamia



Charlotte in Werther

Dulcinée in Don Quichotte



Wolfgang A. MOZART

Giacinta in La finta semplice

Farnace in Mitridate, re di Ponto

Cecilio in Lucio Silla

Cherubino in Le nozze di Figaro

Zerlina in Don Giovanni

Dorabella in Così fan tutte


Gioachino ROSSINI

Ernestina in L’equivico stravagante

Lucilla in La scala di seta

Isabella in L’italiana in Algeri

Arsace in Aureliano in Palmira

Rosina in Il barbiera di Siviglia

Angelina in Cenerentola

Pippo in La gazza ladra

Malcolm in La donna del lago

Arsace in Semiramide

Melibea in Il viaggio a Reims

Stabat Mater

Petite Messe Solennelle


Alessandro SCARLATTI

Ottone in Griselda

Nicodemo in Il dolore di Maria Vergine


Giuseppe VERDI

Messa di Requiem







Management Office & Contact




Stage Door s.r.l.

Via San Giorgio, 4

40121 Bologna (Bo)



tel: +39 (051) 262126

fax: +39 (051) 271452

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