Spanish soprano, born in Barcelona on May 15, 1889 and died in Rome on September 1, 1973. It was called Engracia, name who wanted to italianizar and which became Graziella, sleeker according to their opinion. It was one of the leading sopranos of the Spanish School of coloratura, together with Josefina Huguet - María Galvany, the earliest representative - and Elvira de Hidalgo, María Barrientos . The coloratura sopranos were to seek virtuosity in their voices, with figures agile like trills, pichetatti or holdfasts, which achieved thanks to the extension of the treble; on the other hand, the volume and medio-grave registration were in them decreased. Graciela Pareto had very pronounced this feature due to the opacity of the color, so that his voice seemed even smaller than the fellow, but also more agile - reached easily mesmerize "Fa" - and sweet. In the interpretation, he showed great talent for roles of much emotional, torn by the pain or prisoners of melancholy.
His mother was a singer of opera and zarzuela in Catalonia who knew how to transmit their fondness for bel canto to his daughter. When a day with their parents attended the Liceo and heard María Barrientos in Dinorah, the young woman had the final conviction of wanting to follow in his footsteps. He received lessons of music and singing in charge of Caridad Hernández, completed later in Milan with the Melchor Vidal, great trainer of voices and continuer of the technique of Manuel García. He climbed for the first time on stage in 1906 to sing the waltz in the work of Charles Gounod, Mireille; that same year she was hired to sing the part of Micaela in Carmen at the Liceo. After two years in Milan, he returned to Spain to debut with great success at the Teatro Real in Madrid, where he interpreted La Sonnambula by Bellini, opera that then repeated at the Teatro Regio of Parma and that meant its presentation in Italy with only nineteen years old. He returned to the Liceu in the role of Ophelia in Hamlet (which was considered the best interpreter of the time), accompanied also the best Hamlet, Tita Ruffo, "partenaire" him on numerous occasions.
The year 1909 was of great importance for the presentation on the prestigious stage of the Constanzi of Rome, San Carlo of Naples, Colón de Buenos Aires and Opera of St. Petersburg, adding to his repertoire the Barber of Seville, L'elisir d'amore, Lucia di Lamemoor and Rigoletto. In 1911 he married the composer Gabriele Sibella; He made a series of performances in Havana and returned to sing the Barber of Seville at the Teatro Constanzi in Rome: the character of Rosina, together with the Ofelia, was one of the more times he sang, despite receiving criticism ever by the apparent coldness of its interpretation, rather due to their special temperament.
Between 1912 and 1915 he traveled almost all over Europe; on that tour include performances in the theatre of the Champs Elysées in Paris - with Lucia and the Barber-, the Carlo Felice in Genoa - the somnambulist-, the Teatro Regio of Turin - the Huguenots - and the presentation at La Scala in Milan with Rigoletto, along with Lazarus and Galeffi. In the following years expanded its repertoire with several operas of Mozart, the magic flute and the marriage of Figaro among others, represented all the Barcelona Liceo. In the 1920's he added new successes to his career, especially his interpretations of violet in La Traviata. Widow of her first husband, in 1926 he married Nando sand, head of the Italian Red Cross. He retired from the scene in 1931, with a last speech at the Salzburg Festival singing the secret marriage. Since then and until his death in 1973, he lived in Italy.