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« Vittorio Montalti is probably the most gifted Italian composer who has come into the forefront in recent years.»
Mario Messinis (2014)

« Built on a sequence of four high squeals of the cello, the piece borrows a certain head-on energy from rock music, with both players pushing to transcend the limitations of a rigidly repetitive structure. »
Corinna da Fonseca Wollheim – New York Times (2015)

« Silver Lion at Venice Biennale, Una vita nella musica prize of Teatro La Fenice in Venice, Vittorio Montalti as other young collegues has looked into electronics at Ircam in Paris. But unlike many other composers he has dedicated a lot of his work to musical theatre. At only 33 years old, the right age for miracles, he is working on a new opera for Teatro dell’Opera di Roma.»
Francesco Antonioni – La Repubblica (2017)

« Vittorio Montalti, early 30s composer, free from any “academic rules” thanks to his thought and identity card, has firstly the credit to know how to face singing in its own home that is the opera’s “enchanted” palace without taking easy shortcuts. »
Guido Barbieri – La Repubblica (2016)

« I can only say that the tone of the music and the ensemble made of eight elements and three singers it seemed to me in its disintegration almost like a landslide, a flood of lapis lazuli, of splinters, of light fragments as in a dream. »
Franco Cordelli – Il Corriere della Sera (2016)

« After the 50/60s years old composers who have lived the lesson of the great protagonists of post-war forefront, the Italian scene seems to lack of young musicians able to rise internationally. The 30 years old Vittorio Montalti (who studied with Solbiati and Fedele) seems to have clear purpose and idea. »
Massimo Contiero – Il Mattino di Padova (2014)

« Montalti’s music revealed a dramaturgic physiognomy thanks to a great theatrical intuition that makes the prismatic and changeable story of the protagonist who thinks of himself and the agitated world around him. »
Francesco Saponaro – Amadeus (2016)

« Montalti escapes from the cages where singing often remains imprisoned in modern operas. The young composer is not less able in using instruments, that sometimes produce sounds mixed with the electronics and sometimes are used in a traditional way. The great mastery in using his tools, a strong sense of theater, the freshness of ideas are the ingredients of a great success. »
Mauro Mariani – Il Giornale della Musica (2013)

Next

“THE SMELL OF BLUE ELECTRICITY”

WORLD PREMIERE AT ROMA EUROPA FESTIVAL ON NOVEMBER 20 WITH BLOWUP PERCUSSION AND TEMPO REALE

COMMISSIONED BY SIAE CLASSICI D’OGGI


“CECI N’EST PAS UNE FLUTE”

New recording by Laura Faoro out on October 22 for Stradivarius

You will find also my piece “LABYRINTHES” for bass flute and electronics


My new piece for cello and electronics “THE MEMORIES BOX” will be performed by Michele Marco Rossi in his project on Andrea Camilleri.

August 27 – Lucca Classica
September 2 – Accademia Filarmonica Romana
October 19 – Pordenone
October 28 – Appassionata Macerata
October 30 – I Teatri Reggio Emilia
March 5 – Amici della Musica di Perugia

photo © Luca Condorelli