A pianist with studies in composition and electronic music at the “G. Verdi” Conservatory in Milan, she has attended advanced courses at the Altenburger Musik Akademie, at the École Normale de Musique de Paris, with Michele Campanella at the Accademia Chigiana in Siena and with Bruno Canino at the “G. Marziali” Musical Academy in Seveso. As a soloist, in chamber formations and in ensembles, she is particularly interested in twentieth-century and contemporary music.
She has always combined her piano playing with interdisciplinary research on music, art and architecture, with studies at the Politecnico di Milano and a doctorate at the Sorbonne: formerly a lecturer in Art in Public Spaces at the Politecnico di Milano and in Listening and Silence: Music, Literature and Communication at USI Lugano, she is currently a lecturer in Music and Society at the University of Milano-Bicocca.
Formerly head of the contemporary music section of Radio Classica and director of the Music Project of the Fondazione Spinola Banna per l’Arte, she has been artistic director of the Piano City Milano festival since 2016.
She has published the books Costruire con i suoni (Franco Angeli, 2009; l’Harmattan, 2010; Ashgate, 2014), Note d’Autore, a tu per tu con i compositori d’oggi (Postmediabooks, 2013) and Écoutes et silences. Itinéraires musicaux et contrepoints littéraires (Nino Aragno, 2024). She writes for the Domenicale of Il Sole 24 Ore and for Snaporaz.
Anna Doria began studying piano under Elisabetta Marletta and, from 2017, Ettore Borri. She has taken part in masterclasses given by Massimo Paderni, Gloria D’Atri and Massimiliano Damerini and has performed on various occasions both as a soloist and in chamber ensembles. Alongside her musical activity she pursues philosophical research. A graduate with honours in philosophy from the Universities of Genoa and Pavia, she is currently a doctoral student at the University of Pisa: her research focuses on the thought of Maximilien Robespierre, Jean-Jacques Rousseau and Immanuel Kant, on the categories of Encyclopedism and Anti-Encyclopedism in the eighteenth century, and on the French Revolution. In the field of musicology, she is the author of the essay Per una lettura dei preludi autunnali di Gian Francesco Malipiero, in E. Borri (ed.), Il pianoforte e la musica pianistica italiana, Varese, Zecchini Editore, 2024.
The English music magazine "Gramophone" reviewed its integral recording of Prokofiev's original piano works as "one of the most authoritative and passionate of all the romantic performances so far available on record". His interpretation of Prokofiev's sonatas has received the prestigious nomination of "Classic CD choice" among all the already existing recordings of those compositions (including Richter, Berman, Ashkenazy).
Born in Baku (ex-USSR), OLEG MARSHEV has shown a remarkable musical talent since childhood. He trained with Valentina Aristova at the famous Gnesiny School in Moscow and then continued her studies with Mikhail Voskresensky at the Moscow Conservatory, where in 1984 she graduated with honors and later her doctorate. A resident of Italy since 1991, Oleg Marshev has been awarded a number of international competitions in Canada, Italy, Portugal, Spain and the United States. His four first prizes have confirmed his already well-known reputation as one of the best Russian piano talents of his generation.
The artist made his debut at the Lincoln Center "Alice Tully Hall" in New York in 1991 and the following year he appeared for the first time in the Concertgebouw in Amsterdam, which led him to be repeatedly invited to that prestigious venue. Since then he has held concerts all over the world, from Canada to New Zealand, playing with orchestras such as London Philharmonic, in cinemas such as Wigmore Hall in London and for the most important companies such as the "ABMichelangeli" Festival in Brescia and Bergamo, Ruhr Klavier Festival in Germany, Roque d'Anthéron Piano Festival in France.
Marshev is also involved in teaching. He is currently Professor of the "Anton Bruckner" University in Linz, Austria and holds advanced courses in Italy and abroad. He is frequently invited to take part in the jury of numerous national and international piano competitions.
The first major recording project realized by him concerns the recording of the integral work of Prokofiev, for solo piano, in five CDs, made for the Danish record company Danacord. So far Marshev has recorded at least thirty-five CDs with music by F. Schubert, J. Brahms, R. Strauss, A. Rubinstein, P. Pabst, S. Rachmaninov and many others. He made the first world recording of all the works of Emil von Sauer in six CDs, whose music is certainly not known or almost forgotten. Worthy of note is the engraving of the cycle of the Danish Romantic Concerts, in four CDs.The artist is probably the only one in the world to have recorded all the works for piano and orchestra of the greatest Russian composers: Tchaikovsky, Rachmaninov, Prokofiev, Shostakovich. In July two new integrals were released: Chopin - all works for piano and orchestra in 2 CDS and Mendelssohn - all works for piano and orchestra in four CDs.
All these recordings immediately attracted the attention and the great appreciation of the international critics. The CD with the Shostakovich concerts was reviewed by BBC Music magazine with the words: "Marshev is the phenomenon, the master of every soul state, of sensitivity controlled by intelligence and feeling."
A graduate in Musicology and winner of the national competition by examination and qualifications, she has held the chair of Musicology and History of Music at the “Giuseppe Verdi” Conservatory in Milan since the 2013-2014 academic year.
Her musical studies (Conservatory of Piacenza) and musicological studies (University of Pavia, Cremona campus), as well as the two two-year Master’s degrees obtained at the University of Ferrara on teaching methodologies, have shaped her teaching and research in the history of music of different periods through the publication of articles, essays, musicological texts and monographs, including Antonio Vivaldi published by Skira.
She has collaborated with numerous theatres, associations and music festivals (Pomeriggi Musicali di Milano, Serate Musicali, Autunno Musicale di Como, Bologna Festival, Teatro Donizetti in Bergamo, Teatro Sociale in Como, Teatro Grande in Brescia, Teatro Coccia in Novara, Ente Romano in Fiesole, Teatro Comunale in Monfalcone, Teatro Verdi in Pisa, Milano Classica, Asolo Musica, Festival Pianistico Internazionale di Brescia e Bergamo, Festival delle Nazioni in Città di Castello, Pergolesi-Spontini Festival in Jesi, Orta Festival, Cidim Unesco); and with bodies and institutions of various kinds, including the Municipality of Milan, the Galleria d'Arte Moderna in Milan, the Accademia di Brera, and the Universities of Milan, Bologna, Pavia and Turin.
Her interest in eighteenth-century historiography has taken shape in the revision and editing of scores for their first performance in modern times, such as Domenico Cimarosa’s Le donne rivali, staged at the Festival delle Nazioni in Città di Castello, and Josef Mysliveček’s oratorio Abramo e Isacco, included in the programme of the 1991 Mozart year and performed in Turin and Prague. In collaboration with Attilio Cremonesi and Vincenzo De Vivo, she completed the reconstruction of the Viennese version of Lorenzo Da Ponte’s pasticcio L'Ape musicale (Edizioni Fondazione Pergolesi-Spontini), presented in its first modern performance at the Teatro Comunale in Jesi.
She has taken part in national and international conferences and in projects of various kinds. With Vincenzo De Vivo she conceived and curated the exhibition Da Parigi a Milano: l’avventura della Vestale for the Pergolesi-Spontini Festival in Jesi; at the Les Italiens theatre in Paris she designed and coordinated the conference L’age d’or de la musique italienne a Paris.
She contributed to the founding in Novara of the study centre In-audita musica. Le compositrici nella storia, whose activities she directed for several years.
Appointed by the Ministry and as representative of the Milan Conservatory, she was a member of the International Committee for the celebrations of the centenary of the death of Arrigo Boito in 2018, organising and coordinating several projects in Milan.
She is president of the Association “Amici della Galleria d’Arte Moderna – Villa Reale di Milano, «Strumenti per l’arte» - Progetto Marcello Abbado ETS” and a member of the board of the Association Piero Farulli. La musica un bene da restituire ETS.
Alberto Veggiotti started his artistic career as a pianist and has played in Italy and Europe in important theaters and in important festivals and concert seasons, collaborating as a soloist with numerous chamber and symphonic orchestras including the Südwestdeutsche Philharmonie Konstanz , the Janacek Philarmonia Ostrawa, the MAV of Budapest, the Györ Philharmonic, the European Chamber Orchestra, the Ensemble Instrumental de Grenoble, the Sinfonietta Salzburg, the Orchestra of the Prague National Theater and the United European Community Orchestra and with ensembles such as the Prague Wind Quintet, the Ceske Nonet and the UECO Soloists He has registered for R.T.B.F. and for the National Magyar Radio the Concert for piano and orchestra by Schumann live on radio.
He studied composition in Milan with B. Bettinelli, orchestra conductor in Brescia with A. Galliera and graduated in music teaching at the “G. Verdi” of Turin. He also studied choral music and choral conducting with B. Zanolini, D. Tabbia and K. Koetsveld.
Since 1996 he has been working as choir director at the helm of the Small Singers of Santa Maria, Children’s voices of the Cathedral of Novara, with whom he has made numerous productions of baroque and classical music and has represented Italy in the XXXIX World Congress of Pueri Cantores in Paris at the gala concert in Saint Sulpice. Since 2014 he has been vice-president of the Italian Federation of Pueri Cantores and has been appointed President since 2018.
He is also director of the Children's Voice Choir of the Langhi Academy with whom he collaborated in the preparation of operas at the Teatro Coccia in Novara, at the Teatro Sociale di Mantova and at the Donizetti in Bergamo. In the same theaters he collaborated in 2008 with the staging of Bizet's 'Carmen', in 2009 with the production of Turandot by Puccini and Pagliacci in 2010. In February 2011 he conducted the first performance in modern times of the lyric fable Ghirlino by L. Ferrari-Trecate set up in co-production with the Coccia Theater in Novara at the Theater and in the context of the Children's Theater Review and Young Piedmont. In the Opera Season 2011-2012 he collaborated with the Coccia Theater and the Donizetti Theater of Bergamo in Madama Butterfly, Boheme and Carmen under the direction of G. Acquaviva and V. Galli.
In 2012-2013 he directed, also at the Coccia Theater of Novara, the opera Brundibar by Hans Krasa on the occasion of the memorial day in the staging of Emiliana Paoli, repeated in November at the Teatro Civico in Vercelli.
In 2013-2014 he directed S. Prokofev's Pierino and Lupo in a theater and music show curated by Sergio Bustric and Nino Rota's Lo Scoiattolo in gamba at the Teatro Coccia in Novara.
In December 2014 he participated as a pianist and teacher collaborator in the first ever performance of the opera The song of triumphant love written by the composer Paolo Coletta on a text by Turghenev as part of the Russian memories project wanted by the Coccia Theater Foundation of Novara and in February 2015 he collaborates in the new production of Turandot of the Teatro Coccia directed by V. Beltrami directed by M. Martini.
In 2016 he conducted the gala concert of the National Congress of Pueri Cantores in the Upper Basilica of Assisi.
via dei Cattaneo 15
28100 Novara
Email: info@amicimusicacocito.it
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