Arte audizione

 Il rigoletto - Duca di Mantova Il rigoletto
"Duca di Mantova"



Gennaro Sica, tenor from Naples, qualifies at the Liceo Musicale Pareggiato “U,Giordano” at Foggia and continues his studies with the bariton Carlo Tagliabue and the tenor Ernst Haefliger. He attends the courses of Vocal Art for concert directed by Giorgio Favaretto at the Accademia di Santa Cecilia in Rome and the Accademia Chigiana in Siena.


In Italy he wins the Competition Beniamino Gigli in Macerata and the Competition of the Teatro Lirico Sperimentale “A.Belli” of Spoleto.
In Germany he wins the 3rd Prize at the Musikwettbewerb des Bayerischen Rundfunks in München, in France the 2nd Prize at the Concours International de Chant in Toulouse and in Spain the 1st Prize at the Concurso International de Canto “F.Viňas” in Barcelona.


Artistic Activity

When ten years hold he sings the Masses by Lorenzo Perosi in the Choir, in his school performances he sings “Vissi d’arte” and “Casta Diva” and announces that he wants to become a singer. He starts his artistic career in 1960.
Soon after his début in the role of Ferrando (Così fan tutte) at Spoleto (“Honestly it’s impossible not to be struck by the ductility and sweetness of timbre of Gennaro Sica’s voice that already reminds us of Schipa in his best time”-La Nazione 8/9/1963), he sings at the Teatro La Pergola in Florence, at the Teatro Comunale in Genova, at the Teatro La Fenice in Venice, at La Piccola Scala "alternating with Luigi Alva" and for the Teatro alla Scala (Requiem by Mozart with Renata Scotto  conducted by Claudio Abbado)
He acquires great experience and artistic maturity in Germany where, after his first appearance in the roles of Tamino (Die Zauberflöte) and Don Ottavio (Don Giovanni), he is engaged as Erster lyrischer Tenor and for many years he sings the most different main roles of the various and vast repertoire as a tenore lirico-leggero and tenore lirico.
At the Teatro di San Carlo in Naples, after singing  Almaviva (Il barbiere di Siviglia) by Rossini, he is among the leading characters, with Daniela Dessì, of the striking performance of  Flaminio by G.B. Pergolesi, staged by Roberto De Simone and performed as well at the Biennale of Venice, the Festival of the Two Worlds in Atlanta, at the International Festival in Wiesbaden, at Versailles, Dresden and later recorded by the Fonit Cetra.
At the Teatro alla Scala Claudio Abbado commits him the roles  of Lindoro (L’Italiana in Algeri) and Don Ramiro (La Cenerentola); the last one has also been performed on tour at the Bolschoi, Covent Garden and in Washington D.C..
Again at Teatro alla Scala he sings in the Oedipus Rex by I.Stravinskij, in Le nozze di Figaro by W.A.Mozart and in the Soročinskaja Jamarka by M.Musorgskij conducted by Claudio Abbado, Riccardo Muti and Riccardo Schailly.
His long stay in Germany and the careful study of the German language gives him the chance to turn his attention to the repertoire of the Lieders, the Oratori and the Viennese classic operetta.
He alternates the Lieder concerts and the programs dedicated to the classic operetta with songs of the Canzone Napoletana d’Autore: in this particular field, which is congenial to him as he was born in Naples, he devoted himself with passion and accurate research. Recently he has performed a collection of umpublished songs by the well known actor Totò (alias Antonio De Curtis) and an original pot-pourrì entitled “The origin of the Neapolitan Songs ”with music by G.B.Pergolesi, D.Cimarosa, G.Paisiello, F.P.Tosti, E.De Curtis, S.Gambardella and E.Di Capua. This concert has had unanimous approval abroad too (Gennaro Sica has made himself known with a refined timbre and a tenor seductive shine-Wiesbadener Kurier-3/3/2009).

Teatro della scala - Il matrimonio segreto - Paolino
La vedova allegra
Camille de Rossillon


He sings in five languages and has  collected countless roles of operas, Viennese classic operette, Lieders Oratori and songs.
His favourite roles are:Tamino (Die Zauberflöte), Lindoro (L’italiana in Algeri), ComteOry, Tonio(La fille du regiment), Nemorino (L’elisir d’amore), Chapelou (Le postillon de Lomjumeau), Fra’Diavolo, Elvino (La Sonnambula), Duca di Mantova (Rigoletto), Alfredo (La Traviata), Fenton (Falstaff), Lenskij (Evgenij Onegin), Mime (Das Rheingold and Siegfried), Pygmalion (Die schöne Galathee), Eisenstein (Die Fledermaus).


In collaborations with musicologists, musicians and singers, he has promoted an autonomous, musical institution “Centre of musical Activities” and  readapted and staged plays, operas and intermezzi of the 18th century Neapolitan theatre: Guglielmo d’Aquitania by G.B.Pergolesi for the Frankfurt-am-Main concert season; Flacco e Servilia by L.Vinci, Eurilla e Beltramme by D.Sarro at the Neapolitan Music Festival of the 18th century in Naples, Fra’ Donato by A.Sacchini at the International Festival of Wiltz-Luxembourg; the Pastiche Il Maestro di Musica ascribed to G.B.Pergolesi at Wiltz, Naples and Florence. He has interpreted the very first performance of Nell’Attesa by R.Becheri, an opera of present-day micro theatre.
To give operatic singers the possibility to deepen the vocal-scenic interpretation of the characters, he has promoted stages of introduction to the opera that have achieved the performances of Il barbiere di Siviglia by G.Paisiello and Erighetta e Don Chilone by L.Vinci.






Il maestro di Musica
"Il Maestro di Musica"


Il Pipistrello



He has attended to the production of the Cavalleria Rusticana by Mascagni, Rita by G. Donizzetti, Il telefono by G. C. Menotti, Il segreto di Susanna by E. Wolf - Ferrari, La Zingara by R. Da Capua, L’uccellatrice by N. Jommelli and Piccola Arlecchinata by A. Salieri, Die Fledermaus by J.Strauss’s.

Theaching Activity

He has been a teacher of Arte Scenica at the Conservatorio Statale di Musica “L.Cherubini” in Florence for several years and has seen to the staging not only of repertoire works but also of minor fame works by L.Vinci, G.B.Pergolesi, A.Salieri, G.Tritto, E.Humperdinck and K.Weill. He has initiated  the Courses in Orthoepy, Recitation and Declamation for operatic singers. He has also taken trouble to work so that the Convervatoire  where he has been a teacher could cooperate with the Teatro del Maggio Musicale Fiorentino and with the Accademia di Belle Arti in Florence. Such a cooperation has made it possible the staging of F.Gnecco’s La prova di un’opera seria and J.Offenbach’s Il finanziere e il Ciabattino at the Piccolo Teatro interpreted by the students of Arte scenica class.


Università degli studi di Bologna-Alma Mater Studiorum

Being a convinced supporter of the necessity to examine carefully the scientific knowledge that promotes both the theoretic comprehension of singing and the practical application of the voice, in the Academic Year 2005/2006 he attended the Course of Vocologia Artistica directed by Prof. Franco Fussi specialist in Speech Therapy and Otorhinolaryncology, at the Bologna University: The thesis Study of Singing: lessons of Vocal “ecology”of which Prof.Fussi has written:” A beautiful and careful thesis according to the tradition of the bel canto , has been published on “La voce del cantante” Volume n.5 Omega Editions, Bologna 2009.
(See: Studio del canto:lezioni di “ecologia” vocale)

Il pipistrello


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