Giorgio Misseri

The biggest mistake one makes when tackling a new repertoire is to distort one's own vocality.


by Alex Suciu
April 28, 2024


Tenor Giorgio Misseri is best known for his beautiful bel cantistic/liric romantic voice. From the beginning of his career he was known as an excellent interpreter of the bel canto repertoire and as a rossini musician. He studied at the Rossini Academy of Pesaro and made his debut at the Rossini Opera Festival. Since 2011 his career has led him to sing in the most important Italian theaters and some foreign theaters in dozens of roles.
Interviewed by Alex Suciu for the OPERA Charm Magazine, Giorgio Misseri told us about the present point of his career, about the difficulties when approaching a new kind of repertoire and about the benefit of online presence for an artist. 


Giorgio Misseri distinguished himself from the beginning of his career as an excellent interpreter of the repertoire “bel canto” and as a Rossini musician: in 2004 winner of the scholarship dedicated to Maestro Napoleone Annovazzi as the best interpreter of the Rossinian repertoire, in 2006 he performed in Japan as “Ambassador of Italian bel canto”, also at the prestigious Biwako Hall in Shiga. In 2011 he attended the Rossini Academy of Pesaro, where he studied with Maestro Alberto Zedda, and made his debut at the Rossini Opera Festival as Cavalier Belfiore in Il viaggio a Reims, then he was invited back to the ROF for L’Occasion Fa il Ladro and Matilde di Shabran.

Born in Palermo, he began his musical studies of singing at the Vincenzo Bellini Conservatory of his hometown, where he graduated with honors. Since 2011 his career has led him to sing in the most important Italian theaters and some foreign theaters in dozens and dozens of roles, preferring, above all, the bel canto repertoire of Rossini, Donizetti, and Bellini as well as recording DVDs and CDs.

In Season 2021/2022, he performed as Il principe Alexis/Siberia (w. Maestro Noseda) and Tybald/Romeo et Juliette at Fondazione Teatro Maggio Musicale Fiorentino Firenze, Gualtiero/Il Pirata at Teatro Massimo Palermo and Fernando/Bianca e Fernando at Teatro Carlo Felice Genova.

Between 2017 and 2020 Giorgio Misseri’s engagements included Arbace/Idomeneo at Teatro alla Scala Milano; Gualtiero/Il Pirata at Teatro Real di Madrid; Il conte d’Almaviva/Il barbiere di Siviglia at Teatro dell’Opera di Roma, Teatro Lirico Cagliari, Teatro Verdi Trieste and La Fenice Venezia; Tonio/La fille du regiment at Teatro Comunale Bologna; Lorenzo/Fra’ Diavolo at Teatro dell’Opera di Roma; Ferrando/Così fan tutte at Teatre Principal de Palma de Mallorca; Fernand/La favorite and Fenton/Falstaff at Teatro Massimo Palermo; Conte di Libenskof/Il viaggio a Reims at Theater Kiel; Camille de Rossillon/Die lustige Witwe at Fondazione Arena di Verona – Teatro Filarmonico and Teatro Verdi Salerno; Elvino/La Sonnambula at Teatro Verdi Trieste and Claudio/Le nozze in villa and Un gondoliere/Marino Faliero at Fondazione Teatro Donizetti Bergamo, a.o.

Read more

Read less


First of all, thank you for having accepted our invitation to do this interview! You are known as a representative of the belcanto repertoire, especially Rossini and Donizetti. Was your ability of approaching the heights of the lyrical tenor a rather “innate” ability or did you work your way into it, finding your path towards […]

Your access is restricted because you don’t have a subscription or your subscription doesn’t include this type of content.
Already have an account?
Buy one of our subscription to get access to our exclusive content


Giorgio Misseri
The biggest mistake one makes when tackling a new repertoire is to distort one's own vocality.
April 2024
Alex Suciu
Cristina Pasaroiu
I had time for introspection and discovered what’s important for me: being, first of all, a normal human being, being grateful for every small thing I have, and each person that made me a better person and artist.
November 2023
Cristina Fieraru

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.


Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur