2012 – 2013: IRCAM Cursus 2
2010 – 2013: Accademia Santa Cecilia di Roma
2011 – 2012: IRCAM Cursus 1
2010 – 2012: Master in composition at Conservatorio “G. Verdi” di Milano
2008 – 2010: Bachelor in composition at Conservatorio “G. Verdi” di Milano
1999 – 2007: Master in piano at Conservatorio “S. Cecilia” di Roma
2004 – 2005: two years of Maths at “Tor Vergata” University in Rome.
1999 – 2003: High School Degree (Liceo Scientifico Cannizzaro in Rome)

Courses and Masterclass

2010: Erasmus at CNSMDP in Paris with Frédéric Durieux
2009: Azio Corghi’s composition courses (Accademia Romanini, Brescia)
2008: Luca Francesconi’s composition courses (Settimane musicali di Stresa)
2008: Ivan Fedele’s Masterclass (Sentieri Selvaggi, Milan)
2008: Alessandro Solbiati’s composition courses (Sermoneta)
2007: Toshio Hosokawa‘s composition courses (UrtiCanti, Bari)
2007: Luis de Pablo’s Masterclass (Compositori a Confronto, Reggio Emilia)
2007: Alessandro Solbiati’s composition courses (G.A.M.O.)
2007: Alessandro Solbiati’s composition courses (Sermoneta)
2005: Alessandro Solbiati’s composition courses (G.A.M.O.)
2005: Azio Corghi’s Masterclass (Compositori a Confronto, Reggio Emilia)
2004: Alessandro Solbiati’s composition courses (G.A.M.O.)


Teatro dell’opera di Roma
title: Un Romano a Marte (OPERA)

Maggio Musicale Fiorentino
title: Le leggi fondamentali della stupidità umana (OPERA)

La Società dei Concerti di Milano
title: title to be defined

Maggio Musicale Fiorentino
title: Ehi Giò – Vivere e sentire del grande Rossini – versione definitiva (OPERA)

Divertimento Ensemble
title: Sotterraneo

Teatro Regio di Parma / Festival Verdi
title: Diffractions n. 4

La Biennale di Venezia 2016
title: Untitled II

I Teatri di Reggio Emilia / Festival Aperto
title: L’arte e la maniera di affrontare il proprio capo per chiedergli un aumento – versione definitiva (OPERA)

Teatro Lirico Sperimentale di Spoleto
title: Ehi Giò – Vivere e sentire del grande Rossini (OPERA)

Ex Novo Musica 2015
title: Abandoned Places

Accademia Filarmonica Romana 2015
title: Tell me a story

KlangBox 2014
title: Fuori d’ogni umana coniettura

Teatro La Fenice 2014
title: Little Puzzle

Teatro La Fenice 2014
title: Unnamed Machineries

La Biennale di Venezia 2013
title: L’arte e la maniera di affrontare il proprio capo per chiedergli un aumento (OPERA)

Ex Novo Musica/SaMPL 2012
title: Labyrinthes

Bergamo Musica Festival 2011
title: Farewell

Centro Culturale San Fedele 2011
title: L’Isola di Patmos

Divertimento Ensemble – Rondò 2011
title: Les toits de Paris

La Biennale di Venezia 2010
title: Dittico

La Biennale di Venezia 2009
title: Evolution

Festival Pontino 2009
title: Il Giardino dei sentieri che si biforcano

title: Studio


Premio Una Vita nella Musica – Giovani 2016 del Teatro La Fenice
Silver Lion at La Biennale di Venezia 2010
Premio delle arti, 2010 (finalist)
International composition competition “G. Verdi” Conservatory of Milan, 2009 (II prize)
6th International Forum for Young Composer of Ensemble Aleph
Modern art gallery of Milan, 2009 (I prize)
Egidio Carella (Val TIdone international music competition), 2008 (III prize)
Vieri Tosatti, 2005 (finalist)


2018: Divertimento Ensemble
2017: FortissimissimoFirenzeFestival – Amici della musica di Firenze
2017: Civitella Ranieri Foundation
2014: American Academy in Rome (Marcello Lotti Italian Fellowship)
2013: Italian Cultural Institut in Paris (Le Promesse dell’Arte)


2017-2018: Harmony and analysis at Potenza Conservatory
2016-2017: Harmony and analysis at Potenza Conservatory
2016: Masterclass at Latina Conservatory (1 day)
2015-2016: Electroacoustic composition at Tours Conservatory (4 stages)
2015: Introduction to computer music at Tours University (2 stages)
2014-2015: Composition at Vibo Valentia Conservatory
2014-2015: Electroacoustic composition at Tours Conservatory (4 stages)
2014: Introduction to computer music at Tours University (2 stages)
2013-2014: Electroacoustic composition at Tours Conservatory (4 stages)


« The 29 years old Vittorio Montalti is probably the most gifted Italian composer who has come into the forefront in recent years. He has confirmed it in its Unnamed Machineries, the new symphonic piece commissioned by Gran Teatro La Fenice in remembrance of Giovanni Morelli. In the little space of five minutes this piece goes from acid phantasmagoria to an intimate and suspended atmosphere where it is not the direct line of singing that come out but the longing of singing in a secure writing knowledge. »
Mario Messinis

« The program was devised and introduced by Vittorio Montalti, an Italian composer who, at 30, is young enough to be the grandson of the great 20th-century composer Luciano Berio. The cellist Maria Kitsopoulos and the percussionist Daniel Druckman gave a compelling performance of Mr. Montalti’s “Passacaglia” for marimba and cello. 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. The cello also struggles to transcend its own cello-ness with extended techniques producing sounds that are breathy and furry; at one point Ms. Kitsopoulos bowed the instrument’s backside while Mr. Druckman played the resonant tubes underneath the marimba’s keys. »
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. He has looked back at the vocal experimentation of the 60’s, with a great taste for the finesse of colours and an iron logic, without easy compromise. »
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 obligation” 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. The perfect challenge is Ehi Giò  the new opera commissioned by Teatro Lirico Sperimentale di Spoleto…. Montalti goes right to the heart of singing and he visits the most sumptuous room of the palace. »
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. Maybe it was the right elusive music appropriate for Rossini that Montalti and Compagno have chosen to tell us. »
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. During last Biennale Musica in October his one act opera had already shown good effectiveness and once again his new piece Unnamed Machineries, commissioned by la Fenice, has made good impression. Even though its brevity, the piece affects thanks to a fascinating game of contrasts between elusive sonorities, magic interventions of the celeste, rude and dry actions of the percussions. »
Massimo Contiero – Il Mattino di Padova

« Ehi Giò is the convincing creation that Teatro Sperimentale di Spoleto Festival has commissioned to the young composer Vittorio Montalti who received the Silver Lion at the Musica Biennale in Venice in 2010. 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. This led to a score that has spots like a leopard with a multifaceted singing: sometimes fragmented, like rap and expressionist reminiscences, sometimes as a brush stroke of melodic echoes, sometimes as frantic vertiginous scans like a concertato. But also his instrumental writing appeared made by different solutions that palpitate effectively among experimental sounds, moments  linked to tradition, and interactions with electronics. You breathe a suggestive dimension of freedom and creative energy. »
Francesco Saponaro – Amadeus

« Their singing is sometimes made of chopped syllables as the avantgarde music did some decades ago, sometimes of “post Puccini” melodies, sometimes of swirling spellings as in foolish rossinian concertato. Even referring to those models with great freedom, 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

« Vittorio Montalti’s impressive and inventive Passacaglia for marimba and cello—Daniel Druckman and Maria Kotsopoulos respectively—came next. Montalti, not yet 40 years old, served as host for the evening, and introducing his piece, talked about the inspiration of Ravel and Fausto Romitelli. From Ravel, he learned the value of repetition, and from Romitelli—an enormously talented composer whose early death left a gaping hole in contemporary music—he learned how to incorporate more populist musical ideas. 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 (Druckman sounded uncannily like a saxophonist, ghosting notes). 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