Music has always been a big part of my life since I was 6 years old.
I grew up playing piano, classical and jazz. During the day I studied Bach and Mozart and in the night I played my own music in clubs. I joined my first choir when I was 12. At 17 I conducted for the first time. That experience was life changing and led me to professional conducting.
Even though music grew in me along side my other passion, architecture, music making was so predominant that it quickly took over everything else. I left architecture, taking with me the skills of long term planning and team leadership, and pursued further studies in music. The continuation of my studies brought me from my hometown, Pescara, to Rome, then to Bologna and later to The Netherlands.
There I explored my passion for early music, with special attention to the sacred choral music. The research became an important part of my practice, specifically the re-discovering of forgotten repertoire. I like finding unpublished music sources, evaluate them, transcribe them and perform the music in concerts. My expertise at the moment is the sacred music of the 18th century from Portugal.
As in my youth, travelling through genre remains one of my favourite practices. Curiosity about unknown and “not-well-known” music of any era or style drives many of my concerts’ programs and projects.
However what really drives me in my work are people. Their instrument is the voice as well as their emotion, their believes, their expectations. Making music is channelling this energy into the best performance we can have, with respect and sharing. When the conductor gesture is not only leading but enabling the flow of music linked into emotions, that is the golden moment of unity between choir and conductor. That is what I strive for.
Over the years of my conducting career I’ve developed some believes that underline my work. Fun is as important as intonation. Right music for the right group. Music style as a mean to truth in performance. Attentive rehearsal results in performance in one breath. This is how I approach my rehearsals with my weekly choirs as well as projects with choirs and professional ensembles.