Graduated at the «Tartini» Conservatory of Trieste,
her native town, her activity brought her to perform on the
stages of the principal Italian theatres such as the Teatro
Regio di Torino, the Teatro Verdi di Trieste, the Malibran
and La Fenice di Venezia, the Arena and the Teatro Filarmonico
di Verona, the Teatro Carlo Felice in Genoa, the Teatro Massimo
Bellini di Catania, the Teatro Comunale di Bologna, the Teatro
Massimo di Palermo, the Teatro Petruzzelli di Bari, the Arena
Sferisterio in Macerata, the di San Carlo in Naples, the
Teatro dell’Opera and the Accademia Nazionale di Santa
Cecilia in Rome. Many are the performances abroad (Wexford,
Bilbao, Nagoya, Yokohama, Tokyo, Minorca, Lausanne, Peralada,
Otsu, Santander, Barcelona), collaborating together with
Maurizio Arena, Daniele Callegari, Bruno Campanella, Riccardo
Chailly, Myung-Whun Chung, James Conlon, Daniele Gatti, Gianandrea
Gavazzeni, Gianluigi Gelmetti, Riccardo Muti, Daniel Oren,
Zoltan Pesko and Nello Santi.
A winner of several prestigious competitions, such as the «Carlo
Coccia» International Competition of Novara (role of
Beppe in L’Amico Fritz) and the «Rendano» International
Competition of Cosenza (for her performance of the role of
Suzuki in Madama Butterfly), in 1990 she successfully debuted
in the title role of Carmen a Novara.
Particularly appreciated were her interpretations of I Quatro
rusteghi (Margherita), Il Campiello (Orsola, Cd recorded – “Le
Timbre de Platine” Prize from Opéra International),
Rusalka (lo Sguattero), Gianni Schicchi (Zita), Il Cordovano
(Hortigosa), Il campanello (Madama Rosa; Cd recorded at the
Teatro Regio di Torino), Romanza (Donna Lina, world première),
Falstaff (Quickly) and others roles.
The roles she performed in the first years of her career
include Maddalena in Rigoletto, Fidalma in Matrimonio segreto,
Margherita in Quattro rusteghi and Orsola in Campiello. This
last one has also been recorded and the recording has been
awarded with «Le Timbre de Platine» by the Opéra
International de Paris. She also sang in Rusalka (Sguattero),
Gianni Schicchi (Zita) and Il Cordovano (Hortigosa).
In 1995 she took part in the production of Carmen staged
by Zeffirelli at the Arena di Verona.
In recent seasons she performed at the Teatro Regio di Torino
in Die Meistersinger von Nürnberg (Magdalene) and in
Boris Godunov (Ostessa), in Messina in Carmen (Mercedes)
and in Madama Butterfly (Suzuki), at the Teatro Comunale
di Bologna in Il Campiello (Orsola), in Verona in Carmen,
in Genoa in Il cappello a tre punte, in Trieste in Rigoletto
(Maddalena), in Bilbao in Madama Butterfly (Suzuki) and at
the Teatro dell’Opera di Roma in La fiamma (Agnese)
in occasion of the 1997/8 opening season. She also sang Il
giro di vite (Mrs Grose) in Cagliari, Carmen (Mercedes) in
Macerata and took part in the Teatro Comunale di Bologna
productions of Gianni Schicchi and Fedora in a tour in Tokyo.
In 1998/9 season Cinzia De Mola was heard in The Rake’s
Progress (Baba the Turk) in Ferrara, Modena, Piacenza and
Reggio Emilia, in Evgenij Onegin at the Teatro Massimo di
Palermo, in El amor brujo in Trieste, in Madama Butterfly
and in La traviata in Macerata (broadcast by Rai).
In 1999/2000 season she sang in Rigoletto (Maddalena) at
the Théâtre Municipal de Lausanne and in a Japan
tour of the Teatro alla Scala and Gianni Schicchi at the
Teatro Comunale di Bologna and at the Festival Internacional
de Santander.
2000/1 season brought her again to Bologna and to Reggio
Emilia to sing as Mary in Der Fliegende Holländer, to
Lausanne for Luisa Miller and to the Teatro Massimo di Palermo
to perform the role of Maddalena in Rigoletto. The successful
return to the Teatro Verdi di Trieste in Les contes d’Hoffmann
and the engagements in the role of Quickly in Falstaff in
Menorca have followed. During Summer 2001 Cinzia De Mola
travelled to Tokyo to sing as Orsola in Il Campiello (Japan
Opera Foundation), and to Barcelona (Festival Internacional
Castell de Peralada) to take part in a new production of
Gianni Schicchi (Zita). She opened her 2001/2 season returning
to the Teatro Massimo di Palermo for Rigoletto (Maddalena)
and to the Teatro dell’Opera di Roma for new productions
of Gianni Schicchi and Suor Angelica. Two successful engagements
in the role of Mercedes (Carmen) have followed, firstly at
the Teatro Carlo Felice di Genova and then at the Arena Sferisterio
di Macerata.
More recently, Cinzia De Mola appeared on the stage of the
Teatro dell’Opera di Roma in Romanza (Donna Lina);
at the Teatro Lirico di Cagliari in L’ufficiale della
guardia and in Oedipe; at the Teatro Regio di Torino as Contessa
di Coigny in Andrea Chénier; at the Teatro Comunale
di Bologna, under the baton of Daniele Gatti, in Madama Butterfly;
in Macerata and Verona in La traviata; at the Arcimboldi
in Milan and in Lousanne in Gianni Schicchi (Zita). At the
Teatro Stabile di Torino, she just took part in L’impresario
delle Smirne, staged by David Livermoore.
Her vast concert activity includes Messiah by Händel,
Gloria by Vivaldi, Tobias by Farinelli, Stabat Mater by Pergolesi,
Requiem by Mozart, Magnificat by Bach, Missa pro-Defunctis
by Mannino and Glagolitic Mass by Janacek (at the Accademia
Nazionale di Santa Cecilia of Roma under Myung-Whun Chung).
Her future engagements include Faust (Marta), Gianni Schicchi
and Les contes d’Hoffmann at the Teatro Verdi di Trieste,
Andrea Chénier (Contessa di Coigny) at the Teatro
Comunale di Bologna and in Japan.
