My relationship to the XX century and contemporary music, also enhanced by my long collaboration with Luciano Berio, leads me to convey my own research spur and omnivorous curiosity in a performing, composing and conducting activity.
I love traditional chamber music, but also tango in its past and present varieties; I’m familiar with Stravinsky, Bartok, Kodaly and Britten’s repertoire, but I’m also fascinated by the French XX century of Debussy, Ravel, Satie, Milhaud and Fauré. I also like conducting film scores, and I fondly remember the performances of Entr’acte (Clair/Satie), Assassinat du Duc de Guise (Calmettes/Saint Saens), Acciaio (Ruttman/Malipiero), Rapsodia Satanica (Oxilia/Mascagni), Nuova Babilonia (Kozincev/Sostakovich), Le Chien Andalou (Bunuel/Kagel).
Great artists, such as Berio, Penderecki, Hajdu, Helffer, Sciarrino, Donatoni, as well as Stewart Copeland, Ennio Morricone, Riz Ortolani, Virgilio Savona, Luis Bacalov, Les Percussions de Strasbourg, Franco Battiato, Andrew Cyrille, Esti Kenan, crossed my path, giving birth to exciting musical projects.
I’m also keen on musical theatre: from Lego by Nicola Campogrande, co-produced with Cidim in Verona, to Façade by Walton featuring the London Voices and co-produced with the “Biennale” in Venice, Palermo and Paris; from Il Gatto con gli Stivali” by Massimo Priori for the Teatro San Carlo in Naples to La Voix Humane by Poulenc, co-produced with the Teatro Donizetti in Bergamo; from Histoire du Soldat by Stravinsky, also staged in exciting dialect versions in Trento, Verona and Ravenna, to Der Tribun by Kagel with outstanding actors, such as Foà, Isherwood, Matteucci e Vergassola.