BIO

photo ยฉ Luca Condorelli

Vittorio Montalti (Rome, 1984) studied composition with Alessandro Solbiati at the G. Verdi Conservatory in Milan and piano with Aldo Tramma at the S. Cecilia Conservatory in Rome. He then continued his composition studies with Ivan Fedele at the Accademia Nazionale di Santa Cecilia and studied electronic music at IRCAM โ€“ Centre Pompidou in Paris.

He has received several major recognitions, including the Silver Lion at the Venice Biennale and the Una Vita nella Musica award from the Gran Teatro La Fenice in Venice.

His works have been performed at leading festivals and institutions such as the New York Philharmonic, Gran Teatro La Fenice, Teatro dellโ€™Opera di Roma, Maggio Musicale Fiorentino, IRCAM โ€“ Centre Pompidou, La Biennale di Venezia, GRAME โ€“ Biennale de Lyon, Romaeuropa Festival, Radio France, Festival Le Viver, among others.

He has been composer-in-residence at the Italian Cultural Institute in Paris, the American Academy in Rome, Civitella Ranieri Foundation, Amici della Musica di Firenze, Divertimento Ensemble, and La Societร  dei Concerti di Milano. He also serves as an advisor to the American Academy in Rome and is curator of the MA/IN Festival.

Particularly drawn to music theatre, he has composed four operatic and music theatre works, which have been staged in various productions.

In recent years, he has also been active as a live electronic music performer, notably through three ongoing projects: The Smell of Blue Electricity, The Great Void, and Lascaux.

His collaborations with museums include a performance/installation commissioned by MAO โ€“ Museum of Asian Art in Turin, and a song cycle inspired by Giuseppe Penoneโ€™s Il giardino delle sculture fluide, commissioned by La Reggia di Venaria.

He recently presented a new electroacoustic performance commissioned by the Teatro dellโ€™Opera di Roma, based on Orlando di Lassoโ€™s Lagrime di San Pietro, under the artistic direction of Damiano Michieletto. The work premiered in the evocative setting of the Basilica of Maxentius in June 2025.

He teaches composition at the โ€œAlfredo Casellaโ€ Conservatory in Lโ€™Aquila. He has released five monographic recordings with labels such as Col Legno, Extended Place, Stradivarius, and Ema Vinci.

His works composed until 2017 are published by Edizioni Suvini Zerboni โ€“ SugarMusic S.p.A., and since 2018 his music has been published by Casa Ricordi โ€“ Universal Music Publishing.

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

ยซ 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. ยป
Corinna da Fonseca Wollheim – New York Times (2015)

ยซ 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 dellโ€™Opera di Roma.ยป
Francesco Antonioni – La Repubblica (2017)

ยซ Vittorio Montalti, early 30s composer, free from any โ€œacademic rulesโ€ thanks to his thought and identity card, has firstly the credit to know how to face singing in its own home that is the operaโ€™s โ€œenchantedโ€ palace without taking easy shortcuts. ยป
Guido Barbieri – La Repubblica (2016)

ยซ 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. ยป
Franco Cordelli – Il Corriere della Sera (2016)

ยซ 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. ยป
Massimo Contiero – Il Mattino di Padova (2014)

ยซ Montaltiโ€™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. ยป
Francesco Saponaro – Amadeus (2016)

ยซ 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. ยป
Mauro Mariani – Il Giornale della Musica (2013)


Links

Casa Ricordi

Edizioni Suvini Zerboni

MA/IN Festival

Nuova Consonanza

Conservatorio de L’Aquila