« The 29 years old Vittorio Montalti is probably the most gifted Italian composer who has come into the forefront in recent years. »
Mario Messinis

« 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

« 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

« Solo shows a composer with a real ear for the possibilities of keyboard color. »
Frank Daykin – New York Concert Review

« 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

« 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

« 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

« 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

« 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

« Passacaglia is full of surprises and satisfactions. Every bit of Montalti’s use of the theme and variations form is full of creativity: the spare theme, played in the cello, is full of bent notes and shifting attacks; a descending marimba line has a tremendously jazzy articulation. The variations extended through dynamics and interplay between the two instruments, and the music touches on the exciting expressive freedom and  surprise of free jazz. »
George Grella – New York Classical Review

« Vittorio Montalti’s one-act opera is a perfect comic organism where the words dissolve into an anti-naturalistic dust of sounds… »
Mario Messinis – Il Gazzettino di Venezia 

« The experiment has been successful, the hall was crowded with the public laughing and applauding in the middle of the scene as it happened in the past. The critics have welcomed the works realized in collaboration with Donizetti Theatre. »
Rino Alessi – Italian Ways

« When music and directing cooperate to a unique goal, the spectacle works and conquers, and the theatre is alive. This is what happened with “L’arte e la maniera di affrontare il proprio capo per chiedergli un aumento”- world première at Festival Aperto. The composer, Vittorio Montalti, and the director, Claudia Sorace, have succeeded in making Georges Perec’s text alive in an absolutely astonishing way. »
Gazzetta di Reggio

« An alienating atmosphere, supported by a musical texture created by Vittorio Montalti through a sound material that mixed harmonic-timbric inserts, compact or fragmented ones, with live electronics involvements amplifying the babbles written by Giuliano Compagno in his opera libretto. »
Alessandro Rigolli – Il Giornale della Musica

photo © Luca Condorelli