“… I think I'll stop making instruments only when I won't hear anymore
the desire to change ... "
I started approaching violin making in 1999.
"In my family, my grandfather and uncle were already involved in the construction of stringed instruments.
In fact, I created my first violin in the workshop next to my uncle Arturo.
It was he who patiently allowed me to make my first five violins, passing on to me those notions that he had developed with experience and that had in part been handed down to him by his teacher Sesto Rocchi."
In 2002 I had the opportunity to enter the workshop of master Elio Severgnini in Castelleone.
I then moved to Cremona.
"Cremona was a city that could offer a lot to a young violinmaker
My life changed a lot. I was finally wholly "immersed" in what I wanted... everything was bowed string instruments making.
I remember the days spent with Elio in which, without distractions, we carried on with our work and he, without compromises, showed me what his vision of things was.
In the evenings and at weekends, I would go to the Cremonese luthiers, the young people who were learning like me, the Stradivari Museum, and the collection, and there were many opportunities to discuss and exchange ideas. I also remember that when the city was most frequented by dealers and musicians, we would try to sell some antique instruments bought in two, three, or four! Besides ours, of course.
They were beautiful years, full of stimuli, dialogue, and learning."
In 2010 I returned to Italy and for a few years I shared the laboratory in Cremona with fellow friends.
“... I felt that the time to work alongside a teacher was over ... I felt the urge to express my vision.
I felt the strong need to start experimenting what I had matured over the years in terms of acoustics and aesthetics.
A period of great creativity had begun for me ... finishing one instrument meant understanding what to change in the next ... "
In 2013 I return to San Polo d'Enza where in my home-studio I continue work and research.
In 2023 I decide to move to Parma where I open a new studio in the historic center.
Here, today, I welcome friends, clients and passionate lutherie scholars.
Research and comparison remain and will always remain the basis of my work.
They were wonderful years, full of stimuli, comparison and learning.
In the summer of 2008 a new opportunity presents itself.
Maestro Josè Maria Lozano was looking for a new assistant.
Lozano was well known internationally as an expert restorer and scholar of ancient paints. In his laboratory in Madrid passed many historical Italian instruments of high level.
“… When I got in touch with him, he agreed to take me, but only after a trial period of one month… I spent two and a half years with him.
In Madrid they were the years of specialization.
Years in which I learned to analyze an instrument in every specific part and aspect.
To understand the relationships between shapes and sound, in comparison with historical instruments that presented greater sound qualities, in tests on paints and many other fundamental aspects in order to be able to intervene appropriately on an instrument, both through restoration and at the origin during the making of the new one.
Today I can say that those years were fundamental to gain confidence in the professional analysis of the tools that would, in the future, be submitted to me by my clients ... "
