Teaching

I have started teaching in 1984, at the beginning it was “Solfege and Music Theory”, then “Chamber Music” at various officially recognised Musical Schools and Conservatories all over Italy.
Since 1991 I have a tenure as teacher of “Piano accompaniment” at the Conservatory “Arrigo Boito” in Parma, where over the years I have held the positions of Coordinator of Accompanying Pianists, Head of International Relations and Erasmus project and I was a member of the Academic Council.
Within the Conservatory I have organized masterclasses, concerts and events.
I held Masterclass abroad and participated in international projects.


Before the 1998 reform of the conservatories, my course of "Piano Accompaniment" would proceed in close collaboration with the singing teacher, which was virtually co-teaching it. After the reform my role has gradually changed and now I independently teach "score reading" to the singing students and "Piano Accompaniment" to pianists who want to pursue a career as accompanist and répétiteur. My class is therefore now divided equally among singers and pianists so they can also collaborate and study with each other.

A project I am particularly proud of: in 2010, within the Singing Department I set up a project for the creation of a chamber choir composed exclusively of students of singing classes. We decided to study the "Petite Messe Solennelle" by Rossini, also because the chance to sing solo parts represented an incentive to take part in the group. But my purpose was the study of choral discipline to a professional level. For this reason, I have requested and obtained the assistance of the master of the choir of the Teatro Regio of Parma, Martino Faggiani who, after a few months of rehearsing, has supervised the preparation of the final concert with a one-week workshop. The coincidence that in 2010 Barenreiter published a new critical edition of the "Petite Messe" based on the manuscript of the first performance at home ... and found by Phlipp Gossett, gave us the idea of a collaboration with the curator of this new edition. Therefore, after an introductory conference where Philipp Gossett described his lucky and adventurous discovery, the final concert in the recently restored Auditorium del Carmine, was a re-enactment, with two Erard pianos from the second half of the nineteenth century, of the original version of Rossini's masterpiece.