Born in 1987 in Trieste, he started studying piano at the age of six, privately carrying out the examinations at the Conservatories "G. Tartini" in Trieste and "J. Tomadini" in Udine. At the same time, he began the self-taught parallel study of the organ, becoming organist in the Patriarchal Basilica of Aquileia and performing concert activities as well.
In 2013 he graduated in Computer Science at the University of Udine.
He begins studying the lyric singing in 2015 followed by pianist Sabina Arru and then proceeding with the tenor Federico Lepre, whom he's still studying with. He followed masterclasses, courses and workshops held by Claudio Desderi, Matelda Cappelletti, Francesca Patanè, Karen Stone, Alessandro Svab, Lucia Mazzaria, Lorenzo Regazzo, Rolando Panerai and Patrizia Ciofi.
In October 2016 he made his debute in the role of Conte d'Almaviva for the production of Le Nozze di Figaro by W. A. Mozart at Teatro Bonci in Cesena (directed by M. Cappelletti), under the baton of Claudio Desderi, teacher whom he prepares with at the School Of Music of Fiesole (FI) in the lyric and chamber music repertoire.
He's bass soloist in Te Deum by M. Charpentier, Belcore in L'elisir d'amore by G. Donizetti, while in October 2017 he came back to the Teatro Bonci in Cesena for the production (signed Desderi-Cappelletti) of Don Giovanni by W. A. Mozart, where he sung the title-role. In December he's bass soloist in the Krönungsmesse by W. A. Mozart.
In 2018 he is winner of the lyric competitions of Teatro Lirico Sperimentale "Adriano Belli" in Spoleto and "Toti Dal Monte" in Treviso. This last one gives him the role of Count of Almaviva in the production of Le Nozze di Figaro in Treviso, Jesi and Ferrara. In March 2019, with this role, he debuted at the Opéra de Marseille (M. Shanahan / V. Boussard).
Recently he performed the Kindertotenlieder by G. Mahler and lieder cycle Winterreise by F. Schubert with several pianists, including Eugenio Milazzo, Alessandro Pierfederici, Filippo Gorini and Riccardo Risaliti. He joined Piccolo Opera Festival of Friuli Venezia Giulia as Belcore in Donizetti's L'elisir d'amore (O. Arieli / E. Iorio) and the Cantiere Internazionale d'Arte in Montepulciano for the contemporary opera Tancredi appresso il combattimento by Claudio Ambrosini (R. Hamilton / M. Cappelletti).
Shortly he will be Morales in Bizet's Carmen at the Ravenna Festival (V. Ovodok / L. Micheletti).
| Composer | Opera | Role |
|---|---|---|
| C. Ambrosini | Tancredi appresso il combattimento | |
| V. Bellini | Beatrice di Tenda | |
| V. Bellini | I Puritani | |
| G. Bizet | Carmen | |
| G. Donizetti | L'elisir d'amore | |
| G. Donizetti | Don Pasquale | |
| E. W. Korngold | Die tote Stadt | |
| W. A. Mozart | Le Nozze di Figaro | |
| W. A. Mozart | Don Giovanni | |
| W. A. Mozart | Così fan tutte | |
| G. B. Pergolesi | La serva padrona | |
| G. Puccini | Madama Butterfly | |
| G. Puccini | La bohème | |
| G. Rossini | La Cenerentola | |
| G. Rossini | Il signor Bruschino | |
| I. Stravinskij | The Rake's Progress |
| Composer | Title |
|---|---|
| J. S. Bach | Magnificat |
| L. V. Beethoven | Symphony No. 9 |
| J. Brahms | Ein deutsches Requiem |
| M. Charpentier | Te Deum |
| M. Charpentier | Messe de minuit |
| G. Fauré | La Bonne Chanson, Op. 61 |
| G. Fauré | Requiem |
| G. Mahler | Kindertotenlieder |
| W. A. Mozart | Requiem, K626 |
| W. A. Mozart | Krönungsmesse, K317 |
| J. Rutter | Mass of the children |
| F. Schubert | Winterreise, D.911 |
Enfin, Christian Federici (jeune baryton italien, méconnu en France, ayant déjà interprété son rôle dans plusieurs maisons italiennes) offre une diction impeccable et une projection puissante. Il incarne un Comte aussi profond que solennel: ce charisme transparaît sur scène où sa présence seigneuriale dicte les gestes des autres personnages. La musicalité de l’artiste se retrouve en particulier dans les récitatifs où sa jalousie s’exprime, et dans l’air “Hai gia vinta la causa”. En effet!
— Olyrix - March 27th, 2018
Christian Federici delinea a perfezione il suo Conte: ora volitivo ed arrogante, ora autoritario eppur elegante, con una colonna di fiato vigorosa e densa di colori.
— Teatro.it - Oct 27, 2018
Christian Federici ha le phisyque du rôle e la giusta personalità per il fascinoso cavaliere che sciorina i suoi invidiabili trionfi amorosi. È dotato di un bel timbro caldo e dal suo fraseggio emerge la forza di una gioventù impetuosa che sembra voler afferrare tutto ciò che gli sta attorno. In una parola è accattivante e non si può fare a meno di provare una certa simpatia per lui. Con questo "Don Giovanni" Federici completa la sua esperienza mozartiana al Bonci dove lo scorso anno fu un abile conte nelle "Nozze di Figaro".
— l'Opera International Magazine - Dec 2017