One of the most exciting mezzo-soprano of her generation, acclaimed artist Silvia Beltrami established herself as an outstanding performer of the Verdi roles. ltalian, born in Bologna, she has graduated at Conservatory Arrigo Boito di Parma, while studying privately with William Matteuzzi and Raina Kabaivanska. Silvia Beltrami has already received an amazing record of successes in the Verdi Operas at Teatro Regio di Parma, at Bolshoi Theater, at La Fenice in Venice, Teatro dell’ Opera in Roma, NCPA in Beijing, Royal Opera House in Muscat, the Teatro Regio in Turin, at Arena di Verona and at Konzerthaus Berlin, at Teatro Real in Madrid, at ABAO of Bilbao and at the Campoamor Theater of Oviedo.
Her stage presence and the communicative strength that distinguish her, have allowed her to be a natural interpreter of charismatic roles such as Azucena in Il Trovatore, Amneris in Aida, Santuzza in Cavalleria Rusticana, Ulrica in Un Ballo in maschera, Tigrana in Edgar, Ebdli in Don Carlo, and also roles like Suzuki in Madama Butterfly. Beltrami has an innate sense of theater and she is an acclaimed performer in roles like Mrs. Ouickly in Falstaff, Zita in Gianni Schicchi or Beppe in Amico Fritz. Phenomenal performer In the bel canto repertoire, she has interpreted in the last years also in works and principal roles such as Italiana in Algeri (Isabella), Maria Stuarda (Elisabetta), Il Viaggio a Reims (Marchesa Melibea), and La Gazza Ladra (Pippo).
Silvia Beltrami has worked with some of the finest conductors in the world such as Myung-Whun Chung, Gianandrea Noseda, Donato Renzetti, Giacomo Sagripanti, Andrea Battistoni, Stefano Ranzani, Francesco Ivan Ciampa, Jader Bignamini, Stefano Montanari, Francesco Lanzillotta and Felix Krieger and directors like Franco Zeffirelli, Pierluigi Pizzi, Davide Livermore, Hugo De Ana, Alex Ollé of the Fura del Baus, Emilio Sagi, Gianmaria Aliverta and Valentina Carrasco.
Among her recent and future engagements: Uirica in Un Ballo in Maschera at Teatro la Fenice in Venezia (new production conducted by M” Chung), at the Bolshoi Theater in Moscow (new production by Davide Livermore) and at the Teatro Regio in Parma, Madama Butterfly (Suzuki) at Teatro Regio in Torino and at Arena di Verona, II Trovatore at Teatro dell Opera di Roma, Cavalleria Rusticana (role debut as Santuzza) at Savona Festival, Verdi Requiem at Duomo in Modena, Tigrana in Puccinis Edgar at the Konzerthaus in Berlin, Eboli in the Don Carlo at the Daegu Opera Festival, Messa da Reguiem in Bari at Teatro Petruzzelli conducted by Renato Palumbo, Amneris in Aida at Teatro la Fenice in Venice under Riccardo Frizza, Aida at Terme di Caracalla (new production of Teatro dell’ Opera of Rome). Claudio in Haendel’s Lucio Silla at the Enescu Festival conducted by Fabio Biondi with the Europa Galante Orchestra, Ulrica in Un Ballo in Maschera at Mikhailovsky Theatre in St Petersburg, Aida at Teatro La Fenice di Venezia, Quickly in Falstaff at Opera de Lille, Lussemburgo and Caen, Fenena in Nabucco at Teatro Massimo di Palermo, Il Trovatore at Teatro Comunale di Sassari and at Teatro La Fenice, Aida alle Terme di Caracalla.
"...Azucena, played by a talented Silvia Beltrami, the true spearhead of the show (a confirmation of the true protagonist of the work and just Azucena). Beautiful color of voice, warm and penetrating, beautiful phrasing and interpretative line instructions, with a high acute register led the artist to collect the success of the public..."
"...Among the soloists, the mezzosoprano Silvia Beltrami has distinguished herself, from the timbre rich in harmonics, from the sonorous and compact voice throughout the range, which has never been forced neither in the high nor in the low register, which has thus allowed her to perform his part with varied and emotional phrasing, in full harmony with the soprano in Recordare Jesu pie and Agnus Dei..."
“...Surprisingly, Claudio gets more arias than any other character in Silla and the role’s interpreter, mezzo Silvia Beltrami, offered an all-around marvelous performance. Her “Con tromba guerriera” with trumpet obbligato was one of the evening’s high points..."
“...The marked musical and scenic personality of the mezzo-soprano Silvia Beltrami has outlined a tense and passionate female figure, certainly not inclined to painful and resigned tones in the face of Turiddu's betrayal. The listeners rightly appreciated the consistency and color of the singer's voice, homogeneous and safe in all its extension..."
"...Dark and powerful Silvia Beltrami, a guest from Italy who melted well with local voices..."
“... Excellent Suzuki by Silvia Beltrami, the mezzosoprano tone is particularly pleasant and enveloping, the emission always measured and the phrasing compound. Scenically, Beltrami proves casual and emotionally involved, outlining a particularly credible character...”
“...Here we want to underline the good test of Silvia Beltrami's Amneris, with a sufficiently wide and dark voice, as well as an incisive accent for what is the key character of Verdi's masterpiece...”
“...Silvia Beltrami's Azucena shines, undoubtedly the best of the evening: a pasty voice for a real character, not closed and elusive, not very diabolical but deeply human...”
“...Silvia Beltrami's Ulrica is a beautiful discovery: no uterine or Birignian inflection of ancient translation, but a cleaning of the line and an emission of solidarity both above and above, at the bottom of a very accurate and effective one-sentence service...”
“...More than positive was the performance of Silvia Beltrami, a Bolognese mezzo-soprano who confirmed her Verdi vocation. The reading of the part was admirable, with valuable vocal "paws" in the scene of judgment and invective...”
“...Silvia Beltrami's Ulrica is the only one to make a character completely credible from every point of view: excellent singing technique, which often uses mixed sounds much more pleasant than those of the chest, very good at phrasing instead an eloquent, vigorous mimicry that enriches the interpretation...”
“...Finally Silvia Beltrami in the role of Azucena: a real surprise, the most focused on the mastery of the role, impeccable in phrasing and cheerful timbre pulsations...”