Canadian, Mezzo Soprano Lucia Cervoni has been described by Canada’s leading national paper, The Globe and Mail, as “Tall and statuesque, she has a voice on the darker side, and blessed with this natural color, she has a distinctive sound that should take her far.”
Lucia Cervoni's exciting 2017/2018 kicks off full throttle as she debuts in Verdi's Aida as the passionate and dangerous, Amneris with Theater Magdeburg.
Lucia Cervoni has been hailed by critiques around the globe as possessing a voice and presence “beautifully rich and glamourously beautiful to behold.”
In Lucia Cervoni’s 2016/2017 season, Cervoni made her role debut singing Siébel in Gounod’s Faust. Her season continued full speed ahead with her singing the title role in Boesmans’ Julie, Die Dritte Dame in Die Zauberflöte, Suzuki in Madama Butterfly, Frau Reich in Die Lustigen Weiber von Windsor, and her role debut as
Mary in Wagner’s Die Fliegender Holländer.
Cervoni was also thrilled to have made her house debut with the Welsh National Opera in her much adored role, Octavian in Strauss’ Der Rosenkavalier.
In Lucia Cervoni's thrilling 2015/2016 season, she made her role debut singing Ulrica in Verdi's Ballo in Maschera, at her home theater, Theater Magdeburg. She then voyaged back home for her Canadian debut singing the title role of Boesmans' Julie in a
co-producition between Canadian Stage and Soundstreams Canada. In the winter of 2015 she journeyed off to Denmark to make her company debut singing Suzuki in Madame Butterfly with Den Jyske Opera. Lucia closed off her season back at Theater Magdeburg with Verdi's Requiem and debuts the role of Frau Reich in Die Lustigen Weiber von Windsor.
Cervoni's 2014/2015 season included the role debut of Dorabella in Cosi Fan Tutte. She revisited the roles of Die Dritte Dame in Die Zauberflöte and Cherubino in Le Nozze di Figaro. Last but not least a highlight in her season came in the spring with her role debut of Donna Isabella in Fibich’s The Bride of Messina, which was recorded live and will be made available soon for purchase.
In Cervoni’s 2013/2104 season she had much success debuting the role of Octavian in Strauss’ Der Rosenkavalier, while along side the roles of Hänsel in Humperdinck’s Hänsel und Gretel and Cherubino in Mozart’s Le Nozze di Figaro.
Internationally she returned to the concert stage singing with The Santa Fe Symphony Orchestra as the Mezzo Soloist in Handel’s The Messiah and making her Asian debut with The Singapore Symphony Orchestra singing Bach’s St. John Passion. She was also thrilled to sing her first Verdi’s Requiem with the Magdeburger Kantatenchor.
Lucia Cervoni ignited her 2012/2013 season with Theater Magdeburg with her role debut as Eboli in Verdi’s Don Carlo. As she continued into the season, she revisited the roles of Suzuki in Madame Butterfly, Niklas/Muse in Hoffman’s Erzählungen and Hermia in a new premiere of Britten’s A Midsummer Night’s Dream. Reviewed by the press as a singer with a dark velvety voice from whom you should never take your eyes for fear of missing something, Cervoni had her first ever one woman show of Henze’s El Rey de Harlem.
In Lucia Cervoni's 2011/12 season with Theater Magdeburg, she debuted the roles of Niklas/Muse in Offenbach’s Hoffmans Erzählungen, and Tisbe in Rossini’s La Cenerentola. She rediscovered the roles of Suzuki in Puccini’s Madame Butterfly and Charlotte in Massenet’s Werther. In the fall of 2011 Cervoni returned to The Santa Fe Symphony as the Mezzo Soloist in Handel’s The Messiah. Cervoni concluded her 2011/2012 season with two German opera house debuts as Suzuki in Madame Butterfly at the Staatstheater Schwerin and at Theater Freiberg as Charlotte in Werther, and in the summer of 2012, Cervoni sang in two opera galas collaborating with the Bayerisches Kammerorchester Bad Brückenau and with Ton:arten in Sasbachwalden.
In previous season with Theater Magdeburg she was heard as Charlotte in Werther, Carmen in Bizet’s Carmen, Dritte Dame in Mozart's Die Zauberflöte, Diana in Offenbach's Orpheus in der Unterwelt and Mrs. Grose in Britten's The Turn of the Screw. In Cervoni's 2009/10 season with Theater Magadeburg she debuted as Carmen in Bizet’s Carmen, Diana in Offenbach’s Orpheus in der Unterwelt, Zita in Puccini’s much loved comedy Gianni Schicchi and returned to the role of Dritte Dame in Mozart’s Die Zauberflöte . In Ms. Cervoni’s 2008/09 she was heard as Maddalena in Verdi’s Rigoletto, Sonjetka in Shostakovich’s Lady Macbeth von Mzensk, Zweite Dame in Mozart’s Die Zauberflöte, Schenkwirtin/Amme in Musorgsky’s Boris Gudonow, a Recital Soloist in a Chamber Concert Series and in Tobias Wellemeyer’s scenic evening of "Love Songs".
Earlier in 2008 Lucia Cervoni debuted with Glimmerglass Opera as Cornelia in Handel’s Giulio Cesare. Gay City News wrote, “Leading the supporting cast were Canadian mezzo-soprano Lucia Cervoni as the widowed Cornelia…. lovely to listen to, with a contralto colored tone that never became lugubrious but also was glamorously beautiful to behold, making the widow of Pompey a totally convincing object of Achilla's and Tolomeo's lust.” Cervoni appeared as Suky Tawdry in The Beggar’s Opera at the Châteauville Foundation, conducted by Lorin Maazel. Concert engagements included Handel’s Messiah with the South Carolina Philharmonic and as the Mezzo Soprano Soloist in Mozart’s Missa Solemnis with the Santa Fe Symphony. Lucia Cervoni returned to the Santa Fe Symphony later in the fall of 2008 as a Soloist in Handel’s Messiah.
In previous seasons Lucia’s engagements included a debut with The Santa Fe Opera, as Dritte Dame in a “well-matched trio who sang and acted well” of Mozart’s Die Zauberflöte. She then returned to the company to premiere the role of Tessa, for their Spring Tour, in a new production, The Trinity, by American composer John Kennedy. The New Mexican declared that Cervoni “brought a rich mezzo-soprano and warm sympathy” to the role.
As a member of Seattle Opera’s Young Artist Program, Lucia performed the roles of Mrs. Grose in Britten’s The Turn of the Screw and Carmen, “quite captivating with her dark eyes and impressive command of many subtleties” in Peter Brooks’ The Tragedy of Carmen.
In Cervoni's 2009-2010 season she was the recipient of the prestigious Förderpreis für junge Künstler (prize for young artist) from the Förderverein Theater Magdeburg. In 2007 Ms. Cervoni was a prize winner at The Washington International Competition. Cervoni was a Scholarship recipient as well a winner of the Hugh Ross Award at The Manhattan School of Music and a receiver of the Anna Case Mackay Grant from the Santa Fe Opera. She is also a recipient of numerous Grants from The Canada Council of the Arts.