Fabio Previati, baritone

Fabio Previati

Represented By:

Michael Morelli
+45 21 95 28 28

Ole Justesen
+45 21 85 58 60


Baritone Fabio Previati has a secure voice with a warm core and a remarkable stage presence.

The dutility voice, stage presence and maturity and experience obtained allow him to go from funny roles to the more “serious” repertoire with ease.


Most recent and future engagements include among others:

  •  Silvano/Un ballo in maschera at Teatro Regio di Parma,
  • Dancaïre/Carmen on Tour to Bangkok with Mehta and San Carlo di Napoli,  
  • Germont/ La Traviata at Danish National Opera,
  • Ping/Turandot in Salerno,
  • Bartolo/Barbiere di Siviglia at Teatro di Sassari
  • Carmina Burana,Taddeo/L’Italiana in Algeri at Ente Carolis di Sassari
  • Dancaïre/Carmen on at San Carlo di Napoli.


Born in Venice, Fabio Previati began his musical studies at an early age.

For the last 25 years he has sung regularly in nearly all major Italian and International opera houses such as: Arena di Verona, Regio di Torino, Teatro Massimo di Palermo, Carlo Felice di Genova, Teatro La Fenice di Venezia, San Carlo di Napoli, Teatro dell’ Opera di Roma, Teatro Bellini di Catania, Opéra Bastille de Paris, Monte-Carlo, Marseille, Nancy, NCPA Beijing, Guangzhou Opera House, etc.

He has sung roles such as Marcello, Schaunard/La Bohème, Belcore/L’Elisir d’amore, Germont, Douphol/La Traviata, Leporello, Don Giovanni/Don Giovanni, Figaro/Barbiere di Siviglia, Guglielmo/Così Fan Tutte, Adelson e Salvini by Bellini, l’Italiana in Algeri, Malatesta/Don Pasquale, Sulpice/La Fille du Régiment, Mercutio, Capulet/Roméo et Juliette and many, many others. 

He has worked regularly over the years with conductors and stage directors such as Daniel Oren, Campanella, Viotti, P. Maag, Renzetti, PL Pizzi, Hugo De Ana, ecc.

Other past engagements include the role of Bartolo/Il barbiere di Siviglia at Teatro Verdi Trieste, Dancaïre/Carmen at Teatro San Carlo di Napoli with conductor Zubin Mehta and in Salerno with Daniel Oren, Sagrestano/Tosca with Tel Aviv Opera in Masada and at Opéra de Monte-Carlo, Dandini/La Cenerentola at Teatro Verdi di Trieste, Douphol/La Traviata at Opéra National de Paris, Conte Rodolfo/La sonnambula at Opeda Hedeland and also Schaunard/La Bohème at Opera di Firenze.

In 1994 he made his debut as Dr. Malatesta at the Teatro Sociale di Rovigo and then, at the Opera of Rome. In the same year he sang for the first time at the Arena di Verona, playing the role of Schaunard in La Bohème by Puccini. At the Arena di Verona he will return several times for character roles that are well suited to its scenic qualities: Dancairo in Bizet’s Carmen, directed by Zeffirelli, the Sacristan in Puccini’s Tosca, conducted by Maestro D.Oren with directed by Ana H.De, Melitone in La forza del destino by Verdi, conducted by Maestro M.Arena who will play later at the Teatro Regio di Parma.

So in 1998 he made his debut in La Traviata by Verdi, playing the role of Germont at the Teatro di Trento to reinterpret it, then, at other times: in 2001, the Opera of Rennes and in 2005 at the Verona Philharmonic Theatre.

In 2000 he was invited to play for the first time the role of Hoel in Dinorah by Meyerbeer at the Teatro Regio di Parma and in the same year also debuted in the role of De Siriex in the Giordano’s Fedora opera at the Teatro Carlo Felice in Genoa. Again sing the same role at the Teatro Regio in Turin during a gala evening next to Mirella Freni and Placido Domingo.

In 2002 at the Rennes Opera he debut as Renato in Un ballo in maschera by Giuseppe Verdi in 2003 and the role of James in Joan of Arc by the same author. Back then at the Teatro San Carlo in Naples to debut in the role of Michonnet in Adriana Lecouvreur, a role that earned him rave reviews and a successful warm from the public.

He debuted the roles of Mercutio and Capulet in Romeo and Juliette at the Marseille Opera and Teatro Regio di Parma, and the role of Sharpless in Madama Butterfly by Puccini under the direction of Maestro Campori.

His career continues between these roles which are flanked by from time to time lucky debuts as was for Silvio in I Pagliacci by Leoncavallo at the Teatro Massimo in Palermo in 2009 and for Valentine in Gounod’s Faust at the Teatro Bellini in Catania in 2010.

During his career he has collaborated with great conductors such as M.Viotti, M.Arena, D.Oren, D. Renzetti, L.Maazel and with Maestro Mehta Z. who chose him to the role of Ping at the Maggio Musicale Fiorentino, the Forbidden City in Beijing, at NHK Hall in Tokyo and at the Teatro Reina Sofia in Valencia alongside international stars.

He recently played the role of Rambaldo in the Rondine by Puccini and he even sang the role of Ping in Guangzhou Opera House with Maestro Daniel Oren and directed by R. Canessa. He ‘was then invited to play the roles of Shaunard and Ping also at the Teatro Verdi in Salerno and was again invited to Guangzhou Opera House’s Carmen.

He has made numerous recordings including La bohème by Puccini (Naxos), L’opportunità fa il ladro by Rossini (Claves – Dir. M. Viotti), Margaret of Anjou (Opera rare) and two DVD: Tosca from Arena of Verona (with Maestro D. Oren) and Turandot from the theater Reina Sofia in Valencia (with Maestro Z. Mehta).


Fabio Previati – I Puritani by V. Bellini – Ah, per sempre io ti perdei, role Riccardo

Fabio Previati – Don Giovanni by W.A. Mozart – Madamina il catalogo è questo, role Leporello


Turandot, G. Puccini, Teatro Regio, Parma – Jan 2020

“Il baritono Fabio Previati è un solido Ping dalla voce ben impostata”
– Patrizia Monteverdi, operaclick.com

L’Italiana in Algeri, G. Rossini,Comunale Sassari – Oct 2018

Fabio Previati si è confermato un interprete rossiniano ideale nei panni di Taddeo (l’anno scorso a Sassari era stato Don Bartolo nel Barbiere di Siviglia)

La Cenerentola, G. Rossini, Teatro Verdi Trieste – 12 April 2016

“Eigentlich müsste die Oper diesmal Dandini heißen. Denn man erlebt hier Fabio Previati als gleichnamigen Kammerdiener, der darstellerisch und stimmlich alle an die Wand spielt. Mit großer Präsenz und kraftvoll-kernigem Bariton und auch so mancher köstlichen wie auch tänzerischen Einlage hat der Erzkomödiant dann als falscher Prinz die Lacher des Publikums immer auf seiner Seite.”

– Helmut Christian Mayer, Opernnetz