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meet the prima donna

With her “lush, creamy voice” and “giddy coloratura”, Italian-Canadian soprano Lucia Cesaroni is freshly in demand as some of opera’s most coveted heroines, making new signature roles out of Verdi’s Violetta, Puccini’s Mimì, and Mozart’s Donna Anna. Her rescheduled 2020/21 season sees her debut at North Carolina Opera as Mimì in La bohème, Violetta in Saskatoon Opera’s production of La traviata, Fiordiligi in Vancouver Opera’s Così fan tutte, and Donna Clara in Zemlinsky’s Der Zwerg at the Enescu Festival in Romania. With Tapestry Opera, Ms. Cesaroni sang the role of Ava in the cast recording of the award-winning opera by Gareth Williams and Anna Chatterton, Rocking Horse Winner; the album was broadcast in late 2020 on CBC Radio’s Saturday Afternoon at the Opera. In the spring of 2022, Ms. Cesaroni performs Joe Hisaishi’s The East Land Symphony with both the Toronto Symphony Orchestra and the Vancouver Symphony Orchestra and is thrilled to join the Metropolitan Opera's 2022/23 roster covering Olga in their new production of Fedora.

In recent seasons, Ms. Cesaroni made acclaimed role debuts, including Violetta and Mimì at Pacific Opera Victoria’s productions of La traviata and La bohème, as Donna Anna in Don Giovanni at the Spoleto Festival under James Conlon, Micaëla in Carmen with Maine’s Bay Chamber Concerts, and Hanna Glawari in Vancouver Opera’s The Merry Widow. “Amazingly enough she even manages somehow to revolve about herself, coquettishly swivelling her svelte form in places where the rest of us aren’t even jointed...and then turn around and invest an old chestnut like Lehàr’s Vilja ballade with genuine feeling,” says Lincoln Kaye for The Vancouver Observer. A champion of Italian bel canto repertoire, Ms. Cesaroni has joined Boston’s Odyssey Opera in two productions of lesser-known Rossini and Donizetti operas, including Mathilde in Elisabetta, Regina d’Inghilterra, and Eleonora in L’assedio di Calais.


Additional operatic credits include Donna Anna at the Teatro Aligheri di Ravenna and the Teatro Coccia di Novara, Musetta in La bohème with Opéra de Montréal, Susanna in Le nozze di Figaro at the Spoleto Festival, Woglinde in Das Rheingold at Pacific Opera Victoria, Norina in Don Pasquale at Saskatoon Opera, Yum-Yum in The Mikado with Toronto Operetta Theatre, and Maria in West Side Story with Vancouver Opera. 


As a concert artist, Ms. Cesaroni was a soloist for Mahler’s Symphony No. 2, “Resurrection”, with the Sinfonia Nazionale della RAI in Torino, a programme of duets and arias with Andrea Bocelli at the Columbus Citizens Foundation, NYC, Carmina Burana with the Berliner Symphoniker and the Royal Philharmonic Orchestra, and Handel’s Messiah with The Victoria Symphony and the Montréal Symphony Orchestra.


Ms. Cesaroni is a graduate of the Atelier lyrique de l’Opéra de Montréal. Additionally, she has trained at the Ravinia Festival’s Steans Institute, the Britten-Pears Young Artists Programme at Aldeburgh, the Hochschule für Musik Nürnberg-Augsberg, the Chautauqua Festival, the Aspen Music Festival, and the International Vocal Arts Institute. She is an alumna of the University of Toronto Opera School (MMus).


Vilja Aria, Lucia Cesaroni as The Merry Widow

'Come scoglio' from Mozart's Così fan tutte

Andrea Bocelli and Lucia Cesaroni "O Soave Fanciulla"

"Stridono lassù" L'aria di Nedda (Leoncavallo, I Pagliacci)

Deh, vieni non tardar at Spoleto Festival dei Due Mondi

'Je dis que rien ne m'épouvante'


Lucia Cesaroni brilliantly portrayed the cleverness and playful elements of her role, with her clear soprano carrying the top line in the ensembles with authority. Heard in many ensembles throughout the opera, she had her star turn in the last act with the well-known aria “Deh vieni, non tardar” in which she baits the unsuspecting Figaro. This was an exceptionally fine performance of this famous aria, the nocturnal side of the music well characterized in the context of the underlying humour.
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Kenneth DeLong, Calgary Herald

The biggest is that Lucia Cesaroni plays Ava rather than Carla Huhtanen.  They have quite different voices and a different take on the character.  Lucia has a much richer, more resonant soprano than Carla.
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John's Opera Ramblings

Soprano Lucia Cesaroni sang Mimì’s music with consistent security and tonal beauty. From her first ‘Scusi’ in Act One, she brought to her performance gladdening vestiges of long-dormant styles, integrated with her own sensibilities and vocal persona. Recalling Licia Albanese, this Mimì’s first words to Rodolfo disclosed awkward excitement tempered by unassailable propriety. Cesaroni sang ‘Sì, mi chiamano Mimì’ gorgeously, her top As ideally lofted on the breath, and, crucially, she offered Rodolfo and the audience a look into Mimì’s solitary but fulfilling world. The shrewdness of her artistry was apparent in her suggestive but shy voicing of the single word ‘curioso’ in the duet with Rodolfo, in which she ended Act One with a dulcet top C. Central to Cesaroni’s portrayal of Mimì in Act Two was a palpable awareness of belonging, the thoughtful young woman having found a place among people who appreciated and embraced her.
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Joseph Newsome, Voix des Arts

Mimì, beautifully sung by Canadian soprano, Lucia Cesaroni, is the charming and delicate tenant of the highest attic mansard, where she embroiders flowers and sells them at the market. Some of the most famous arias in all opera occur in the first act when Mimì introduces herself "Mi chiamano Mimì," ("They call me Mimi… but my name is Lucy) upon which the poet, Rodolfo, sung by Scott Quinn, responds, "Chi son? Sono poeta…" ("Who am I, I am a poet… and how do I live… I just live!"). Cesaroni has a beautiful rich voice and a gorgeous soft top register; she is also a consummate actor… and quite the flirt! Quinn has a lovely timbre in the high register and made a strong match for his Mimì.
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Peter Perret, CVNC


Lucia Cesaroni Soprano


Stratagem Artist Management, LLC.

New York, NY USA

tel. 646.847.9924

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