As a child, did you listen to a lot of classical music at home?
I'm not a son of musicians, but my father loved to listen to classical music, so I listened too, especially the great romantic symphonic repertoire.
How many accordions have you played until now?
I have lost count. I have never been attached to any particular instrument and, given the recent accordion evolutions, I am always looking for something new. At this moment I am waiting for my new "Scandalli" instrument to be handed over, after years of collaboration with the company "Bugari"
You have won many international awards, was there any prize that was a turning point in your career?
I received a good number of international awards and I also remember a good number of disappointments, especially in competitions reserved exclusively for the accordion. I have almost always had satisfactions in competitions for all instruments. Two national selections for young musicians made a change in my career.
The first one was the contest of ARAM (Associazione Romana Amici della Musica) in 1997, with a panel of judges composed by, among others, Cambissa, De Rosa and Farulli. On that occasion I won a tour in Europe and the United States, which gave a big boost to my international career.
The second one was the contest of the Italian Music Youth, thanks to which I made dozens of concerts in prestigious halls, also collaborating with musicians like Bruno Cavallo, Margit Spirk and Mario Delli Ponti.
As a current accordion professor at the Parma Conservatory, what was the most difficult you had to learn?
I have taught for many years in a small Conservatory in the north of Italy and, although I was working well, I lacked an environment full of internationally renowned musicians.
In Parma I have a solid present and an important future projection. I have met and collaborated with many extraordinary musicians such as the former Director of the Conservatory Roberto Cappello (winner of the "Busoni" Competition), Andrea Padova, Giampaolo Nuti and Alberto Miodini (pianists), Enrico Baroni (harpsichordist), Roberto Gini (gambista), Luca Giardini (violinist), Claudio Brizi (organist) and many others. Of course, it was not easy to deal with such an important people…
The accordion is an instrument adaptable to all types of music: classical, folk, jazz, ancient music, tango... You play all the genres, but if you had to choose one, which would you choose and why?
For many years now I focus on the pre-Baroque, Baroque and Classical repertoire using a special accordion, unique in the world, tuned with the A 415hz and with the temperament "Vallotti". There is certainly a personal taste for that period, but it is also due to the decisions I made during my career.
About twenty years ago, in fact, I became particularly interested in Baroque music and I contacted specialists for lessons. I thought I will find a strong opposition to the use of the accordion (twentieth century instrument) in that repertoire, and instead I found a series of opportunities that led me to study with Roberto Pagano, Marco Farolfi, Luca Oberti and Emilia Fadini, and to collaborate with great specialists like Michele Andalò, Fiorella Andriani, Francesco Baroni, Luca Giardini, Alessandro Palmeri, Alessandro Tampieri or Imbi Tarum.
Your favourite breakfast
I am practically omnivorous, but for me breakfast must be sweet : yogurt, cereals, croissants, fruit ...
The last movie you've seen
Lately, also because of the presence of a 9 year old son passionate about the genre, I do not miss any of the films dedicated to Marvel superheroes. Last Sunday I saw Black Panther.
On 22-23 June you will be in San Sebastian at the ACCOLAND 2018 accordion masterclass, can you explain us why there and what are you organizing?
I will be in San Sebastian thanks to the very kind invitation of Anne Landa, whom I have known for years, but with whom I had lost contact for a long time. We met recently and we organized my visit to San Sebastian. I would like very much that in the near future Anne would come to Parma to speak to the students of my Conservatory of the applications of the Alexander Technique and to my students, in particular, of her vision of the modern accordion.
What are your most exciting projects for this year?
This year is very special for me. I have just recorded my second CD dedicated to Domenico Scarlatti, which should come out at the end of spring.
During the summer, I should start a new collaboration with the baroque bassoonist Dana Karmon and with the flutist / clarinetist Massimiliano Limonetti, with whom we will propose some Bach counterpoints and original tracks for wind instruments and continuo. Moreover, this summer I will begin working on my new concert/recording project: I plan, in the next two years, to record and propose in concert the complete French Suites of JS Bach.