Renato Dolcini's qualities have conquered the world's greatest stages - beauty of tone, flawless technical assurance and an exciting way with words. The Italian baritone also boasts a charisma that flourishes as much in stage as in concert.

Born in Milan, he studied singing at the University of Pavia, where he graduated with honors.
In 2015, he was selected to take part in William Christie's Jardin des Voix, with whom he performed all over the world, in Europe as well as in the United States and Asia, winning rave reviews from the press. In the words of The New York Times: “Renato Dolcini fully embodies Orlando's mad scene, and would certainly have burned up the stage - if there had been one.”

His career was then launched, with a succession of prestigious engagements in an extremely broad reper-toire. Italian opera of the 17th and 18th centuries was, of course, central: the title role in Vivaldi's Bajazet and Caldara's Dafne at La Fenice in Venice; Cavalieri's La Rappresentatione di Anima e di Corpo at the Wratislavia Cantans International Festival (Giovanni Antonini); L'Incoronazione di Poppea (Seneca) at the Salzburg Festival and Angers Nantes Opéra; Monteverdi'sL'Orfeo (title role) in Monte Carlo and Salzburg with Les Musiciens du Prince; Cavalli's Ipermestra (Danao) at Glyndebourne; Landi's La Morte di Orfeo in Amsterdam, Handel's Radamisto (Farasmane) with Il Pomo d'Oro in Barcelona-Paris, or again Agrippina (Claudio) at Madrid's Teatro Real and Pallante in Hamburg.He works with some of the world's most sought-after directors: Graham Vick, Robert Carsen, Moshe Leiser et Patrice Caurier, Barry Kosky, Pierre Audi…

Renato's obvious affinity with the French language is reflected in numerous projects such as Rameau's Pla-tée at the Zurich Opera (with Emmanuelle Haim), Mondonville's Titon et l'Aurore at the Opera Comique and Versailles (with William Christie), Les Indes Galantes at the Grand Théâtre de Genève (with Leonardo Gar-cía Alarcón) or Lully's Armide at Drottningholm in Sweden (Francesco Corti).

He is also in demand in later repertoires, for example Haydn's Orlando Paladino (Giovanni Antonini), Don Giovanni (Tokyo Opera and Warner Classics recording) or Così fan tutte (Daniel Cohen). Renato also sang the role of Alidoro in Rossini's La Cenerentola under Fabio Biondi.

In concert, he also favors a wide musical openness: Monteverdi under the baton of Sir John Eliot Gardiner in Tuscany; Handel's La Resurrezione (Fabio Bonizoni); Bach'sChristmas Oratorio, St. Matthew Passion and St. John Passion (the latter with William Christie and the Concertgebouw Orchestra); Scarlatti's oratorio Sedecia Re di Gerusalemme (Thibault Noally).

Upcoming engagements are prestigious, with partners of choice. These include Rameau's Les Fêtes d'Hébé at the Opéra-Comique in Paris, conducted by William Christie, and a major tour to celebrate his 80th birth-day.

His extensive discography includes the Stravaganza d'Amore program (characters from Orfeo and Apollo) with Raphaël Pichon and the Pygmalion ensemble, recorded for Harmonia mundi and awarded Diapason d'Or and Choc de Classica; Alessandro Scarlatti's Il Martirio di Santa Teodosia with Les Accents (Aparté); Purcell's Dido and Aeneas (role of Aeneas).