We inform you that, starting from 15 May, a quarantine period on arrival in Italy will no longer be mandatory for EU citizens if they have a certificate attesting to the anti-covid vaccination, a certificate attesting to recovery from the disease or a molecular buffer done within 48 hours before entering Italy. This legislation will probably also be extended to some non-European countries. For this reason it was decided to extend the 10% discount on enrollment to courses still available until May 30th.
Prepare at least two complete sonatas in different styles, like Handel and Hotteterre for example. Other scores of chamber music with obligato oboe are welcome. It is indispensable to bring reed making equipement. Classes will be held mainly at the pitch of a = 415Hz. It will be possible to have lesson also with the classical oboe with pitch at a = 430Hz.
The teacher – Alfredo Bernardini
Born in Rome in 1961, Alfredo Bernardini moved to The Netherlands in 1981 to specialize in baroque oboe and early music with, among others, Bruce Haynes and Ku Ebbinge. In 1987 he received his soloist diploma from the Royal Conservatory of The Hague. He has performed all over Europe, in Russia, U.S.A., Canada, Japan, China, Korea, Malaysia, Egypt, Israel, South America and Australia as a member of prestigious baroque ensembles such as Hesperion XX, Le Concert des Nations, La Petite Bande, The Amsterdam Baroque Orchestra, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, Balthasar Neumann Ensemble and others. He has played in more than 100 recordings. In 1989 he founded the ensemble Zefiro together with the brothers Paolo and Alberto Grazzi. His recordings with Zefiro have won important prizes such as the Cannes Classical Award and the Diapason d’Or de l’Année 2009. As a director, he has worked with orchestras in Italy, France, Germany, Spain, Portugal, Belgium, Holland, Denmark, Norway, Poland, the UK, Sweden, Canada, Australia, Israel and with the European Union Baroque Orchestra. His research on the history of woodwind musical instruments has resulted in several articles published by important international magazines. Since 1992 he teaches baroque oboe at the Conservatory of Amsterdam and also taught from 2002 to 2009 at the Escola Superior de Musica de Cataluña in Barcelona. Ha has also been guest teacher in music academies and summer courses in Italy, France, Spain, Portugal, Germany, Austria, Denmark, Israel and the U.S.A..
The course will be organized into two levels:
Students may participate as auditor to the activities of the other level.
Basic thorough-bass technique will be articulated in these points:
- direction of the voices with numbers referring to the perfect chord, related inversions and, within the end of the course, to the seventh with related inversions;
- short exercises of improvisation on simple basses;
- use of different numbers of voices and expressive nuances, of simple level, in a stylistic context;
- simple parts of sonatas for one or two continuo players;
- historical approach to the origin of the “Rule of the octave” and stylistic implementation.
- direction of the voices related to chorals with intermediate/complex numbers;
- chamber music;
- basses without numbers (only advanced level);
- provision of a bass to a given melody (only advanced level);
- Sonatas for Basso solo of the XVII century (scores sent to the students);
- transposition of basses of simple/medium difficulty.
Students may work on their own repertoire pieces or those for the chamber music courses in Urbino; XVII and XVIII century music scores will be provided to the participants.
Recommended methods and books
- Bourmayan & J. Frisch Méthode pour apprendere la pratique de la Basse Continue à l’usage des amateurs, ed. du Cornet *.
- Erich Wolf Generalbassübungen, ed. Breiktopf 6620 *.
- B. Christensen Fondamenti di prassi del basso continuo nel XVIII secolo, ed. Ut Orpheus *.
- Pasquali Thorough-Bass made easy(fac-simile), Oxford University Press *.
- O. Morris Figured Harmony at the Keyboard, part 2, Oxford University Pres**/***
- B. Marcello Sonate I e XII Op. 2*
- Bernardo Pasquini Sonate per basso continuo. Si consiglia il vol. VI dell’Opera Omnia per tastiera (London, Bl Ms. Add. 31501, I) a cura di Edoardo Bellotti, ed. Il Levante **
- F. Couperin Concerts Royaux **/***
- G. F. Händel Sonate per flauto, oboe o violino Op. 1**
- P. A. Locatelli Sonate a violino solo e basso Op. 8***
- J. S. Bach Triosonata in c minor BWV 1079***
* all levels, ** intermediate/advanced level, *** only advanced level
The teacher – Giovanni Togni
Giovanni Togni graduated with top marks in piano, harpsichord and choir direction further extending his musical knowledge with studies in composition and organ. His musical interests have been focused on early keyboards (harpsichord, clavichord and fortepiano) since meeting his harpsichord teacher Laura Alvini.
He is the winner of the 1991 ECBO selections (harpsichord and organ continuo) in Paris, France, and of the 1993 National Harpsichord Competition in Bologna, Italy.
He performed as continuo player (at the harpsichord and organ) with many ensembles, such as Ensemble Concerto, Il Complesso Barocco, Accademia Bizantina, Ensemble Zefiro, Ensemble Aurora, the European Community Baroque Orchestra (ECBO), the RAI Orchestra in Rome, the Orchestra Mozart directed by Claudio Abbado. Furthermore, he had collaborations with opera theatres like the Teatro Massimo in Palermo and the Opéra de Monte-Carlo and he performed in prestigious Italian and European early music and chamber music festivals, both as a soloist at the harpsichord and fortepiano and in chamber groups.
He has recorded for labels such as Glossa, Brilliant, “Amadeus”, Dynamic, Concerto, Deutsche Harmonia Mundi, EMI-Virgin, Deutsche Grammophone (Archiv Produktion) and for the Radiotelevisione Italiana and other European broadcasters.
He has been engaged as lecturer, speaker and jury member, by several institutions like the Giorgio Cini Foundation in Venice, European Harpsichord Competition (Bologna) and the International Early Music courses in Urbino (Fondazione Italiana per la Musica Antica). Since 2017 he is director of the International Early Music courses in Urbino.
He taught harpsichord and historical keyboards at the Cagliari and Milan Conservatoires. Currently he is professor for the same disciplines at the Conservatoire “G. Verdi” of Como.
FIMA is collecting adhesions for a second class of harpsichord for young and very young people, held by prof. Andrea Riderelli with the supervision of Prof. Cipriana Smarandescu. The two classes will work with a similar didactic program and, within the limits allowed by the anti-covid regulations, there will be collaborations between small groups of students.
The fees and regulations of the course in question are identical to those of the other Urbino youth courses.
Dedicated to young musicians, the course is open to musicians of any level interested in the ancient repertoire. Both those who already have harpsichord experience and want to deepen the baroque technique and performance practice, as well as pianists or beginners who want to start studying the harpsichord are admitted. In addition to solo harpsichord literature, the practice of basso continuo and accompaniment will play an important role. The course includes the whole repertoire of the Baroque period and beyond and includes a careful look at the various treatises, methods, most important collections for solo harpsichord and basso continuo.
She graduated in harpsichord with Patrizia Marisaldi (Vicenza) and Ogneanca Lefterescu (Bucharest), she specialized with Ton Koopman, Andreas Staier, Patrick Ayrton, Pierre Hantaï. She won various competitions including Milan (Umanitaria), Pesaro (G.Gambi), obtaining the diploma of participation in the International Competitions of Leipzig (J.S. Bach) and Brugge.
She has performed in Italy, Spain, France, Switzerland, Austria, Belgium, Germany and Romania (Auditorium Parco della Musica, Oratorio del Gonfalone, Accademia di Romania, Pietà de Turchini, Festival dei Due Mondi, Cantiere Internazionale d’Arte of Montepulciano, Bach Festival in Florence, Wanda Landowska Festival, “Note senza tempo” Festival, “Music for life – Emergency, CESMA in Lugano, Real Acàdemia de San Fernando, Musique Ancienne in Saint Paul, Mozarteum Academy, Romanian Radio Broadcasting in Bucharest, Philharmonic “G. Enescu “, Miercurea Ciuc Early Music Festival, Festival “La Stravaganza “), recording for RTV Rumena, Radio Vaticana, Sarx Records, Aliusmodum Records. As a soloist she recorded two Compact Discs: “Invenzioni, Sinfonie e Sei Piccoli Preludi” by J.S. Bach (2009) and “Notenbüchlein für Anna Magdalena Bach”, together with the baritone Furio Zanasi (2015).
Together with Andrea Riderelli, she founded both the baroque ensemble “aliusmodum” and “Aliusmodum Youth Harpsichord Academy”, dedicated to the study of the harpsichord starting from a young and very young age.
She also graduated in musicology with a thesis on Domenico Scarlatti’s “Sonatas for harpsichord”. She teach in Rome and in various masterclasses (Orte, Saracinesco, Anguillara, Sassari, Rome and UrbinoMusicaGiovani), being part of the jury of various international harpsichord competitions.
Nato a Roma, Andrea Riderelli ha compiuto gli studi musicali di Canto Gregoriano, Composizione e Direzione Polifonica diplomandosi nel 1992 col titolo di Magister in Canto Gregoriano conseguito con “Magna cum laude” presso il Pontificio Istituto di Musica Sacra a Roma sotto la guida di Bonifacio Baroffio (Canto Gregoriano), di Vieri Tosatti (Composizione) e di Domenico Bartolucci (Direzione Polifonica). Ha successivamente studiato Direzione d’Orchestra prima con Nicola Samale, continuando poi con Severino Zannerini, Hans Priem-Bergrath, Ferenc Nagy e con Erwin Acel, per perfezionarsi infine con Ludovic Bacs all’Università di Musica di Bucarest.
Ha svolto la sua prima parte d’attività direttoriale principalmente in Romania, dove ha diretto concerti in tutte le sue più importanti filarmoniche. Tra gli atri, meritano senz’altro menzione i concerti svolti presso la Radio Diffusione Rumena di Bucarest e la Filarmonica “George Enescu” di Bucarest dove – tra le altre proposte musicali – sono state presentate in prima assoluta nazionale opere di compositori contemporanei e del novecento.
Oltre all’attività compositiva, negli utlimi anni sono apparsi importanti lavori di trascrizioni e orchestrazione di musiche della tradizione classica e moderna per ensemble di musica da camera, tra i quali spiccano le Sinfonie I e IV di Gustav Mahler (la prima registrata a Hong Kong e apparsa sul mercato discografico in SuperAudio CD) eseguite in Italia e all’estero.
Nel 2004 fonda, insieme alla clavicembalista Cipriana Smarandescu, l’ensemble aliusmodum che si specializza nel repertorio barocco, mentre nel 2008 fonda l’ensemble altrerisonanze con l’intento di dare voce a un particolare repertorio del Novecento e del XXI Secolo. Con l’ensemble aliusmodum, ha diretto numerosi concerti, oltre quelli di apertura di stagioni dell’Oratorio del Gonfalone a Roma, dedicati alla musica di Monteverdi, Bach e Handel con solisti del calibro di Furio Zanasi, Roberto Abbondanza e Lavinia Bertotti.
Da sempre si dedica alla didattica applicata, insegnando clavicembalo, basso continuo e pratica musicale in masterclass e, soprattutto, attaverso la “Aliusmodum Youth Harpsichord Academy”, dedicata allo studio del clavicembalo e della musica antica iniziando dalla giovane e giovanissima età. E’ docente di Strumentazione presso il CESMA di Bioggio/Lugano.
The course is aimed at young students aged between seven and eighteen years and of all levels with at least one year of study. The goal is to create small ensembles, from the duo to the quintet, within the class and with the other instruments of the course. The repertoire utilized will be baroque and classic.
For the oboe class will be used the modern instrument.
The teacher – Ludovica Scoppola
Graduated in Recorded (Scuola Civica di Musica in Milan) and Oboe ( “L.Campiani “Conservatory in Mantua) she hold a Master’s Degree in Recorder (“L.Cherubini “ Conservatory in Florence).
She gives concerts both as a soloist and in chamber ensembles and orchestras, with a focus on performance practice on original instruments of Early Music repertoire as well as the twentieth century repertoire (Rai of Rome, Accademia Nazionale di Santa Cecilia, Ensemble Musica Ricerca, Concerto Italiano and others).
She has made recording for the RAI, and also for the labels Opus 112, Tactus and Edipan.
Since 1989 she has taught on the International Courses of Early Music in Urbino and is a founding Member (President 1994-2004) of Sylvestro Ganassi School of Music of FIMA in Rome, where she regularly holds courses for recorder, oboe and recorder consort.
She teach recorder and oboe in Scuola Civica delle Arti in Rome.
She is the tutor of the woodwind section and of the chamber music of the JuniOrchestra of Accademia Nazionale di Santa Cecilia.
Phd holder in Experimental Pedagogy at the Unviverità Sapienza in Rome, with a thesis on the teaching of music in Italian schools. She has published for Lambert Academic Publishing (Achievement in Musical Education, 2012) and for Franco Angeli (Note di classe, 2013, Le storie dell’Arte, 2017).
She published for Ut Orpheus in 2018 Method for Descant Recorder and it is currently in publication for Ut Orpheus Method for Oboe written with Paolo Pollastri.
This course is intended for young violinists who are interested in entering the world of early music, emphasising particular attention on the management of the bow, vibrato and articulation movements in order to seek an expressive ability with a coherent language with the historically informed interpretation. A wide range of selections, from the concerto in A minor by Vivaldi to the sonatas and partitas by Bach, from Corelli’s sonatas to the sonatas and concertos by Haydn and Mozart. Students from other courses will also be involved in order to structure chamber ensembles to develop their sensitivity to ensemble music.
The teacher – Paolo Piomboni
Paolo Piomboni, who graduated brilliantly from the Conservatory “L. Cherubini” in Florence under the guidance of Maestro Cristiano Rossi, after being awarded in various national competitions and being eligible for the audition at the ORT Orchestra della Toscana, in 1990 won the international competition held by the ‘Accademia Nazionale di Santa Cecilia’, in which Symphony Orchestra still serves as a first row violin.
He has played under the most important conductors of our time: Leonard Bernstein, Georges Pretre, Wolfgang Sawallisch, Lorin Maazel, Kurt Masur, Christian Thielemann, and the permanent conductors of the Orchestra: from Giuseppe Sinopoli to Daniele Gatti, from Myung Whun Chung to the current Maestro Sir Antonio Pappano, with whom he has toured all over the world and recorded numerous award-winning CDs.
In 2005 he founded, together with Paolo Pollastri, principal oboe of the Orchestra dell’Accademia Nazionale di Santa Cecilia, “L’Accademia Barocca di Santa Cecilia”, of which he is leader and soloist since its foundation. The ensemble, which is composed by elements of the Symphony Orchestra dedicated to historically informed performance on original instruments, is a regular guest of the Accademia’s chamber music season.
In the baroque field, he has worked with Ton Koopman, Frans Brüggen, Fabio Biondi and, above all, with Federico Maria Sardelli, with whom he has been collaborating for many years.
Paolo Piomboni dedicates himself with enthusiasm and passion also to teaching: many of his students have been awarded in national and international competitions, and he takes care of the technical preparation of the junior orchestra of the Academy with particular dedication.
Among his interests there is theater as well: as an actor-violinist he has staged several shows on texts written by Daniele Ciccolini, violinist and playwright, collaborating also with actors such as Stefano Antonucci, Massimo Foschi, Max Malatesta and Pietro de Silva, and directors such as Roberto Braida and Pierpaolo Sepe.
The teacher – Antonio Eros Negri
Composer, conductor, and teacher, after completing his studies in Harmony and Counterpoint, he obtained diplomas in Organ and Organ composition, Polyphonic Vocal Composition and Harpsichord, at the Conservatorio “Giuseppe Verdi” in Milan. Winner of several competitions for professorships in conservatories —Fugue and Composition, General Musical Culture, Choral Exercises— Negri holds the professorship of Choral Exercises at the Conservatorio “Giuseppe Verdi” in Como since 1998, where he is also a professor of Counterpoint and Analysis, Concertation, and Direction of baroque and classic repertoire.
A winner of notable composition competitions, Negri carries out an impressive body of work which has led to numerous public performances. His works, distributed by various publishers and recording labels (Schott, Carisch, Halidon …), are frequently performed during national and international concert seasons. He has been a professor of Choir Direction, Composition and Organ at the Istituto Pontificio Ambrosiano di Musica Sacra.
The program of the course is free, level required from intermediate to advanced. There is no audition.
The teacher – Gaetano Nasillo
Gaetano Nasillo is one of the most renowed baroque cellist.
He graduated at “G. Verdi” Conservatory of Milan with Rocco Filippini, with whom has also studied at “W. Stauffer Academy” in Cremona.
After having played in the most important groups of contemporary music and in main orchestras in Milan, he started approaching the performance practice on period instruments, collaborating for many years with Chiara Banchini and Jesper Christensen and learning also the viola da gamba. He attended the “Schola Cantorum Basiliensis” under the guide of Paolo Pandolfo.
Gaetano Nasillo regularly collaborates, often as soloist, with the most prestigious European ensembles of period instruments, among them: Ensemble 415, Concerto Vocale, Zefiro, Le Concert des Nations, Ensemble Aurora, Gli Angeli, performing with them in Europe, the USA, South America, Japan and Australia.
His recording production counts nowdays about 100 titles, most of which were awarded with many prizes: Diapason d’Or (A. Corelli, Concerti grossi op. VI, Ensemble 415; Muffat, l’Armonico Tributo, Ensemble 415; Monteverdi L’Orfeo, Ensemble Elyma; Conti, Cantate, Ars Antiqua Austria; A. Corelli, Sonate per violino e basso continuo op. V, Enrico Gatti; Albinoni, Sinfonie a 5 op.2, Ensemble 415; Haendel Fireworks, Zefiro); voted 10 by Repertoire and Premio Vivaldi (A. Corelli op. V, trascrizione per viola da gamba, G.Balestracci; A. Corelli, Sonate op. V per violino e basso continuo, E. Gatti,); Choc de la Musique (A. Corelli, Sonate op. V per violino e basso continuo); Preis der Deutsche Schallplattenkritik (Bonporti, Invenzioni op. X), C. Banchini); rated A by Amadeus (L. Boccherini,Sonate per violoncello; Schuster, Quartetti padovani; J.S. Bach, Offerta Musicale; Bonporti, Invenzioni op. X), Amadeus cd of the year (Lanzetti op.1).
His soloist production features two volumes of sonatas by Luigi Boccherini, the Opus 5 by Francesco Geminiani (which was acclaimed by the French magazine Diapason as one of the 30 essential recordings to appreciate the violoncello), the Salvatore Lanzetti Sonatas op. 1 (Amadeus award 2006), the Cello Concertos of Leo, Porpora, Sabatino and Fiorenza with Ensemble 415, the Antonio Caldara Sonatas (Muse d’Or Award), the Carlo Graziani Sonatas (In Viaggio verso Breslavia), Nel Giardino di Partenope (Neapolitan sonatas and concertos). In 2019 he released Under the shade of Vivaldi, an original cd with composers from Venice and Padua. He also recorded the Sonatas of Ferdinand Ries for cello and fortepiano with Alessandro Commellato.
Gaetano Nasillo has recorded for Harmonia Mundi France, Symphonia, Teldec, Arcana, Ricordi, K617, Ambroisie, Zig-Zag Territoires, Alpha, Christophorus, Nuova Era, Bongiovanni, Stradivarius, Tactus, Brilliant, as well as for all the major classical radio stations and broadcasting companies throughout Europe and United States.
Besides teaching both modern and baroque cello at the Conservatorio G. Cantelli in Novara, Gaetano Nasillo regularly holds Masterclasses in Italy (Urbino), Spain (Daroca), and South America. In 2013 was invited by A. Abreu to partecipate as soloist at the first Decus Mundi Baroque Festival. He often takes part of the jury of international competions for baroque instruments such as Bremio Bonporti of Rovereto and Concours Corneille in Rouen.
He plays a Giuseppe Ungarini cello made in 1750.
The course is designed for all instrumentalist who want to deepen the practice and theory of continuo on plucked instruments (lute, theorbo, archlute and baroque guitar) and the 17th and 18th century repertoire.
The teacher – Evangelina Mascardi
Evangelina Mascardi is considered one of the most prominent lute players on the international scene.
Born in Buenos Aires in 1977, she graduated in classical guitar and started her concert career as a highly gifted young soloist.
In 1997 she moved to Europe to study with Hopkinson Smith at the Schola Cantorum Basiliensis (Basel, Switzerland), where she obtained her “Solisten Diplom” in 2001.
During the last decade she collaborated regularly as a continuo-player with Jordi Savall (Hespèrion XXI), Marc Minkowsky (Les Musiciens du Louvre), Andrea Marcon (Venice Baroque Orchestra), Giovanni Antonini (Giardino Armonico), Chiara Banchini (415), Simon Rattle (Berliner Philarmoniker). With them and other ensembles she took part in more than 30 recordings.
Nowadays, she confines her collaboration to Ensemble Zefiro (Alfredo Bernardini) and Monteverdi Choir (Sir John Elliot Gardiner), in order to mainly focus on solo lute repertoire.
Constantly praised by critics, she has performed recitals in a number of early music festivals such as Fringe (Barcellona), Concentus (Brno), Resonanzen (Vienna), Luth et Theorbe (Genêve), Early Music Festival (London), Musica Antigua Festival (Daroca), Forum Musicum (Breslau), and guitar festivals in Madrid, Treviso, Santander, Castell’Arquato, Pordenone and Novara.
Evangelina has four solo albums to her credit, two devoted to Johann Sebastian Bach and Sylvius Leopold Weiss (ORF-Alte Musik, Austria 2003 and 2009), one to refined and original theorbo solos by the Modena-born Bellerofonte Castaldi (Arcana 2011) and the latest recently devoted to the Belgian lutenist and composer Laurent de Saint-Luc (Musique en Wallonie 2018).
Evangelina teaches Lute at the ISSM ”Conservatorio A. Vivaldi” in Alessandria (Italy).
The course is aimed to harpists interested in knowing the technique and repertoire for harp in the Renaissance, Baroque and Classical periods.
Main course: Arpa doppia.
The course is open to all (level: beginners, medium, advanced).
For students who do not practice historical harps, a specific path of introduction to the instrument and its technique is planned.
For students of the medium and advanced level it is possible to present a specific program of your choice agreed with the teacher.
Chamber music: A tasto e a pizzico.
Ensemble music for polyphonic instruments (17th century)
Alongside the lessons of the main course, this year an ensemble music course aimed at reconstructing the seventeenth-century practice for ensemble of polyphonic instruments, according to the seventeenth-century examples (S. Landi, G.Frescobaldi, A.Guerrieri, G.Strozzi , etc.), and information drawn from historical sources. The course is open to harpists, lutenists and harpsichordists.
The teacher – Chiara Granata
Chiara is an Italian harpist. After completing traditional studies at Milan Conservatoire G.Verdi she has specialized in Baroque performance. She studied with Mara Galassi, achieving her degree both in triple harp and single action harp at the International Academy of Music of Milan and the degree in triple harp, grade 110/110 cum laude, at Conservatorio Dall’Abaco of Verona.
She works regularly with many leading early music groups: I Turchini, Napoli (cond. A.Florio), La Venexiana, Milan (cond. C.Cavina), Akademie fur Alte Musik, Berlin (cond. R. Jacobs), l’Academia Montis Regalis, Mondovì (cond. A. De Marchi), Cappella Mediterranea (cond. L Alarcon), l’Ensemble Matheus, Brest (cond. J.C.Spinosi), Los Musicos de su Alteza, Saragoza (cond. L.A.Gonzales), la Capella de Ministrers, Valencia (cond. G.Magraner), Trondheim Barokk Norway, Norvegia (cond. M. Wahlberg), Catacoustic, Cincinnati USA (cond. A. Pappano), Collegium 1713, Praga (cond. Vaclav Lucks), Camerata Berna, (Berna, Swiss), La Pedrina (cond.F.Pedrini), Il Gusto Barocco (cond. J.Halubek).
She has recorded for Eloquentia, Hyperion, Stradivarius, Dynamic, Glossa, Alpha, Sony, Deutsche Harmonia Mundi, ResonusClassic, Tactus. Eloquentia, K617, Fondazione Giorgio Cini, Claves.
Some main recordings: Haydn & the harp, Glossa, 2019, The Medici Castrato, a homage to Gualberto Magli, Glossa 2014 and E. De Cavalieri, La rappresentazione di anima e di Corpo (R. Jacobs, Akademie fur Alte Musik) Harmonia Mundi 2015.
She has performed in several theaters and concert halls around Europe and US includin: Concertghebow Amsterdam, Cité de la musique and Theatre des Champs-Elysées in Paris; Berlin Staatsoper in Schillertheatre, Sanssouci Palace in Postdam, Innsbruck Tiroler Landestheater, Madrid Auditorio and Nacional de Mùsica, Palau de la Musica de Valencia; Seville Maestranza Theatre, Luxembourg Philharmonie, Le Quartz Theatre in Brest, The Helicon Foundation New York; Rome, Auditorium Parco della Musica, Teatro Olimpico; Teatro Mercadante and Teatro San Carlo in Naples, Teatro Verdi in Pisa; Teatro Carignano Turin, and Teatro Bibbiena in Mantua, Teatro Olimpico in Vincenza.
Chiara read also Philosophy with distinction at Milan University with a thesis on Baroque aesthetics in the Philosophy of R. Descartes. She received the academy prize ‘Dal Pra’ 1998 for the best research in modern philosophy. Among her recent publications: ‘Le ombre, il chiaro e il distinto: l’esperienza musicale nelle pagine di Descartes’, (’Materiali di Estetica’, 2001), ‘La musica e l’esperienza del tempo’ (’Nuova Umanità’, 2006), ‘La musica e l’angelo. Risonanze nella musica di Monteverdi, Bach, Messiaen’ (with T. Handerson, Nuova Umanità’, 2010), and the book Sapere è un verbo all’infinito (with A. Granata and E. Granata, Il Margine, Trento 2013). Recents studies on the history of the harp: «Un’arpa grande tutta intagliata e dorata. New documents on the Barberini harp», Recercare, XXVII 1-2, 2015; C.Granata and M.Galassi, “Tanto che non si potrebbe sentire cosa più bella”. L’arpa come strumento di basso continuo a Roma negli anni di attività di Orazio Michi,, Basler Jahrbuch für Historische Musikpraxis, Vol.39, 2020.