Music and research
Music
A versatile pianist and passionate performer, I explore historical and modern keyboards with an approach rich in sensitivity and authenticity.
My career has developed between a passion for music performance and an interest in musicological research, with a focus on keyboard instruments, both historical and modern. Recently, I had the honor of winning the fortepiano competition at the MA Festival Brugge 2024. I have been fortunate to study with musicians such as Lisa Crawford and Edoardo Bellotti for harpsichord, Mike Cheng-Yu Lee and Malcolm Bilson for fortepiano, and Alexander Kobrin for piano. Currently, I am delving into historically informed performance practice under the guidance of Paul O’Dette.
I completed my studies with honors at the Conservatorio “Giuseppe Verdi” in Milan, where I studied with Annibale Rebaudengo and Silvia Limongelli. I then continued with Alessandro Taverna at the Santa Cecilia Foundation in Portogruaro and with Piero Rattalino at the International Piano Academy “Incontri col Maestro” in Imola, where I developed a personal approach to the repertoire, combining performance practice with historical-critical reflection.
During my journey, I had the opportunity to perform in several prestigious halls. Among the most important experiences, I recall J.S. Bach’s Concerto in D Major with the Solisti Aquilani at the Teatro dell’Aquila in Fermo and my debut at Carnegie Hall in New York thanks to the Ibla Grand Prize. Other highlights include the Armonie della Sera Grand Gala, the Kyoto International Music Festival, and a debut at Kodak Hall in Rochester, NY, with the Eastman Wind Ensemble in 2022.
Research
A dedicated researcher and committed musicologist, I interweave performance practice with critical and historical analysis to deepen the meaning of music.
In addition to my concert activity, I enthusiastically devote myself to musicological research. I earned a master’s degree in Musicology from the University of Pavia, Cremona branch, with a thesis dedicated to Wagnerian theater. This research led me to obtain a scholarship from the Richard-Wagner-Stipendienstiftung, which allowed me to participate in the Bayreuth Festival.
In recent years, I have focused on several areas of research, including the organological study of historical keyboard instruments, the analysis of 19th-century teaching editions, and performance practice in the works of Robert Schumann. In 2024, I presented a paper on the role of non-original editions in the interpretation of Beethoven’s Piano Sonata No. 17 at the Royal Birmingham Conservatoire.
In 2024, I completed a Doctor of Musical Arts degree at the Eastman School of Music, where I had the opportunity to teach piano and work as an assistant to Professor Alexander Kobrin. I am grateful to be able to combine performing and researching, believing that both are mutually enriching, fueling my artistic and professional growth.
