MY STORY

THE BEGINNINGS
I was born in Tuscany, in the Chianti hills near Florence. Since childhood, my dream has always been to become a luthier. In elementary school, when I was asked what I wanted to be when I grew up, I replied “a luthier” and most of the time my questioner had no idea what I was referring to.

AS A MUSICIAN
I studied cello and ensemble music for several years and I still continue to cultivate this passion today. Playing a bowed instrument is extremely important in order to fully understand the needs of musicians and to find with them the timbre with which they can fully and uniquely express themselves.

MY TRAINING
I enrolled in the International Luthier School of Cremona, after having completed my school studies in the “Rodolico” Scientific Liceum of Florence. In Cremona, my teachers were Maestri Riccarda Dacquati, Luca Baratto, Alessandro Commendulli e Massimo Negroni. In addition, I specialized externally under the guidance of Maestri Davide Sora, Luca Salvadori and Paolo Sorgentone, and followed training courses abroad with Piotr Pielaszek in Poznan (instrument making), Frédéric Becker in Montpellier (setting up) and Roberto Masini in Nice (instrument making).

AMORIM FINE VIOLINS
Immediately after graduating as a luther, I was employed by the Amorim Fine Violins workshop where I had the opportunity to further improve my construction technique and to come into daily contact with world-famous musicians.

AWARDS
I have enjoyed participating in violin making competitions, and currently, I hold the second prize medal and the “best young violin maker” prize from the Mirecourt International Violin Making Competition (2023). Additionally, I have earned a Certificate of Artisanship in the violin category in the VSA competition (2022). In 2021 I won the third prize in the “modern violin professionals” section at the ANLAI competition held in Pisogne (Brescia).

MY IDEA

CREMONESE TRADITION
In construction I take inspiration from the great masters of the past, in particular from Stradivari and Amati. During the making of my instruments, in addition to following their style, I also respect their constructive method. In my work the Cremonese tradition is in fact well recognized by many aspects, such as the choice of wood, the type of varnish, the use of an internal mould and the timbre of the sound.

ENTIRELY HANDMADE
My instruments are made entirely by me without the help of any machinery. Personally following each stage of construction guarantees complete control over the development of the instrument and therefore a high quality. The absence of machinery also allows me to come into intimate contact with the material I am working with and to shape the wood according to the sole will of my hand. Thus the personality of the artisan emerges in all its entirety and can therefore be seen in each and every little detail.

SEARCH FOR SOUND
The search for sound is for me an unending development. My goal is to create an instrument that can fully satisfy all the needs of a soloist. As a musician I understand how many different characteristics a good instrument must have and my intent is to perceive and give voice to all of these. A beautiful tone and power are definitely essential qualities along with projection, balance between the strings, the player’s comfort and many others.

VARNISH
I use varnish that I don’t buy but that I produce myself. Many aspects of the varnish influences the sound of the instrument, which is why I take great care in the selection of the substances I use. Even during the preparation of the wood, I choose to apply treatments that enhance the acoustic characteristics of the instrument, avoiding those that could block the sound. The varnish also has an undoubted aesthetic importance, it must in fact bring out the most beautiful characteristics of the wood.