Cesare Scarton

@Musacchio & Ianniello
Cesare Scarton graduated in Opera Direction and Theatre at the Conservatory of Music “Santa Cecilia” in Rome and graduated in Disciplines of Art, Music and Entertainment at the University of Bologna.
He has been part of the artistic direction of important international events of music, dance, theatre, including the Sagra Musicale Umbra, the Panatenee (Pompeii, Agrigento, Capri), the Verdi Festival of Parma, the Reate Festival of Rieti, of which in 2012 he was appointed artistic director and confirmed in the same position until 2017.

Among others, he directed Il matrimonio segreto by Cimarosa, Chi rapì la topina Costanza? by Vacca, Lo scoiattolo in gamba by Rota, Così fan tutte by Mozart, L’heure espagnole by Ravel, Gianni Schicchi by Puccini, L’impresario in angustie by Cimarosa, The little sweep by Britten, Dido and Aeneas by Purcell, Il libro dei reclami by Chailly, Il re pastore by Mozart, Nina ossia La pazza per amore by Paisiello, Suor Angelica by Puccini, Il filosofo di campagna by Galuppi and Le due gemelle by Piccinni, Il campanello by Donizetti,  Adina by Rossini, La serva padrona by Pergolesi,  L’elisir d’amore by Donizetti, L’italiana in Algeri by Rossini, Il marito giocatore e la moglie bacchettona by Orlandini, Prima la musica e poi le parole by Salieri, La Cenerentola by Rossini, Brundibár by Krása, Anna Bolena by Donizetti, Un giorno di regno by Verdi, Il barbiere di Siviglia by Paisiello, the show Combattimenti, composed of Orazi e Curiazi by Giorgio Battistelli, Combattimento di Tancredi e Clorinda by Monteverdi, Tancredi appresso il Combattimento di Claudio Ambrosini (first performance), La scuola di guida di Rota, Il telefono o L’amore a tre by Menotti.

A vocal expert, he has also dedicated himself to the melologue, contributing to the enhancement and rediscovery of this genre with concerts, conferences, seminars, radio broadcasts and shows.
He collaborates as head of the Italian language with the Bayerische Staatsoper where he has participated in prestigious productions.
He has had the same position at the Accademia Nazionale di Santa Cecilia and at important record companies such as Deutsche Grammophon and Sony.

He has given lectures at some important institutions including the Fondazione Teatro dell’Opera in Rome, the University of Rome and L’Aquila, the Rossini Foundation in Pesaro, the Teatro Tascabile in Bergamo, the Conservatory of Music in Bari and Trento, and master classes at the Universities of Graz (Austria), Varna and Sofia (Bulgaria), Vilnius (Lithuania), Riga (Latvia), Tallinn (Estonia), Kiev (Ukraine), Budapest (Hungary).
At the Rossini Foundation in Pesaro he is a member of the Scientific Committee and director of the series “Iconografia rossiniana”, “I libretti di Rossini”, “Saggi e Fonti”.

He teaches together with Vivica Genaux at the Teatro de la Sena in Feltre (Belluno) for the V/Vox Academy Feltre project.
He teaches stage art and Italian diction at the Opera Laboratorio of the University of Rome Due Tor Vergata and collaborates with the didactic project Roma Opera Campus at the SGM Foundation.
At the Accademia Nazionale di Santa Cecilia she has been teaching and coordinating the artistic activities of the Santa Cecilia Opera Studio since 2004, a project of advanced training in opera singing with Renata Scotto.
He teaches Theory and technique of scenic interpretation at the Conservatory of Music “Santa Cecilia” in Rome.
Among his publications Il melologo: una ricerca tra recitazione e musica, Città di Castello, Edimond, 1998, with an introduction by Giovanni Carli Ballola; Verdi e l’Ottocento europeo, Parma, Comitato Nazionale per le Celebrazione Verdiane, 1999-2000; Verdi Festival 2001 Parma. A year of shows, Parma, Grafiche Step, 2001; Otello. An iconographic journey from Shakespeare to Rossini, Pesaro, Rossini Foundation, 2003.