I was fortunate enough to learn the art of violin making through two parallel paths; the workshop and the school.
Over the last three years I have attended the Violin Making School of Parma, led by Renato Scrollavezza, and worked at the ‘Giovanni Lazzaro’ studio in Padua, where I refined my knowledge and discovered the secrets of restoration.
In 2006 I moved to London to learn the tricks and methods of restoration of the British, given their connoisseurship of violin restoration skills. During my time there, after a stint at Bridgewood & Neitzert, I was lucky enough to study and work on great eighteenth-century Italian instruments, at the one of the few remaining large-scale restoration workshops in the world, The Florian Leonhard workshop-house.
I attended refresher courses by Guy Rabut, Hans J.Nebel, Andrea Ortona, Iris Carr, Gudrun Kremeier where I perfected techniques, such as ‘set-up’, ‘touch-up paint’, and where I learnt about the most innovative methods of restoration.
Since 2011 I collaborate with Franco Simeoni in the restoration of antique instruments with a continuous exchange of knowledge and experience. We deal with the recovery of several precious antique instruments (Goffriller, Landolfi, Galiano, Amati, etc..). The opportunity to manipulate instruments of this caliber is challenging even for the construction of new instruments. The attendance of the master Simeoni has made me appreciate the beauty of being a maker. A maker of instruments made with love, instinct and naturalness.
In 2013 I had the honor of building a violin for the absolute winner of the twentieth Violin Competition “Andrea Postacchini” in the city of Fermo, prize won by Amalia Hall, a very talented young violinist from New Zealand, She came second a few months later in the competition of Lipizer Gorizia.
In October 2016 I participated to “Quartett gebaut gehort” event hosted in Konzerthaus foyer in Vienna, a sort of “fiddle race” where I was involved in the construction of a string quartet in four days with other European colleagues.
In February 2017 I attended the course held by George Stoppani and Claudia Fritz on “The Acoustics of the violin and string instruments” at the ITEMM center in Le Mans in France.
In October 2017 I participated to the “Fourth Conference on the Conservation of Musical Instruments” at Musical Instruments Museum, Brussels to share my experience on new techniques of restoration and conservation of stringed instruments.