...because open source matters


Recensioni, ma non solo. Anche opinioni scritte da personalità del mondo della cultura.

From American Record Guide – July-August 2018: Tosti Last Songs
“[...] Tiziana Scandaletti's pleasant, a good match for these attractive, melodic songs [...] Her diction is also excellent. She is a native Italian and enunciates the double consonants clearly and is sensitive to the texts. Piacentini offers lovely accompaniments; his sensual handling of the Puccini waltz had me singing along [...] Sound is good. If you're a Tosti collector, you might want this.” (Reynolds)

From MusicVoice – June 2018: When Tosti knocked on the door of modernity (maximum score *****)
“This record review needs a premise. The writer, already not inclined to the Italian 'bel canto', does public admission work, stating that he can not stand Francesco Paolo Tosti and his chamber songs [...] So you can understand well if as I received a CD from the record company with some Tosti's songs, I put it in my library without taking it into consideration, a consideration that instead with the passage of time has resurfaced not because I was wise in having sin against Tosti and his music, but as for the fact that to interpret the songs present in the CD in question was the Duo Alterno, formed by the soprano Tiziana Scandaletti and Riccardo Piacentini at the piano, a couple of artists who has made a name internationally in the panorama of vocal chamber music of the twentieth century and above all of contemporaneity and that represents a precise point of reference for this type of repertoire [...] The recording made by the Duo Alterno deserves to be examined for its inherent and stimulating peculiarities. First of all, we have to say about the choice of the songs presented by the two interpreters, that are works which almost all belong to the last period of the Abruzzese period (of the eight songs included, half are of 1916, the last year of Tosti's life, one of 1915, one of 1912, one of 1911 and the last of 1879), with texts mostly by the countryman Gabriele D'Annunzio. An interesting choice, at least for the fact that allows you to witness a stylistic change, even in formal intentions in which the inevitable love beats and sighs must willy-nilly confront the expression of modernity [...] A modernity depicted above all through the horrors of a war that was sweeping within a few years the nostalgic world of yesterday of Zweigian memory, annihilated by the massacre that was taking place along the trenches of the First World War. A modernity that Tosti stylizes in songs in which the melodic palpability of the text is accompanied, but it would be more correct to say indicated, from the thin sound of the piano (in this regard, to return the exact timbre, Riccardo Piacentini has used an historical instrument, a splendid Erard of 1904), which materializes brushstrokes of sounds that cool, crystallize, make up the verbal dimension, the refined and diaphanous description of the words. So romances as in La Sera and Consolazione [...] are followed in the form of strokes, sketches, which recall the sound and visual impression that governs Debussy's Pelléas et Mélisande [...] In short, an artistic projection that on the one hand highlights Tosti's discomfort in the face of the loss of the Welt von gestern, on the other hand it is tangible evidence of his knocking on the door of modernity, a timid knock indeed but continuous, interrupted only by the onset of death. It goes without saying that in the face of such a program, Tiziana Scandaletti and Riccardo Piacentini go to wedding, creating a reading that is filter and irradiation, where the soprano singing element sees the voice (called to support difficult textures, especially in acute register) to give a truly recitative, theatrical dimension, while the algid piano dimension traces and suggests contours and frames that implacably fix visions and connotations destined to fade at the rhythm of an inner time [...] Also noteworthy is the sound technique, performed at Lazzarino Pianoforti Studios in Acqui Terme, marked by a dynamic able to restore speed and energy to the voice of Tiziana Scandaletti without the stamp and the piano detail coming to suffer. The sound stage correctly reproduces the voice slightly advanced compared to the instrument, both carved in the center of the speakers.” (Andrea Bedetti)

From Suonare News – May 2018: A voice actress for the last Tosti
“It could only be the Duo Alterno, who for decades have been passionate witnesses through concerts and cd recordings about the twentieth century Italian chamber music, to give voice to the last Tosti. By placing him not among the melodramatic 19th century lounge followers [...] but as an artist able to update his own language based on the interpretation of the text, avoiding if necessary from musical and structural formulas. In this selection occupied by collections of the last year of life, there are the poetic images and the eccentric language of the countryman D'Annunzio to act as bait to a musical ‘recreation’ that shifts the attention from the ‘(bel)canto’ to the song-declaimed with all that entails in the vocalistic hierarchy for piano interventions. In the layout is inserted between the two great D'Annunzio cycles ‘Resta nel sogno’ on the text of Bruno Vignola, and the perspective effect is impressive. But it is listening in succession that fixes well the style of the 70 year old Tosti who entrusts almost totally to the ‘song’ of words, even if it still serves strophic structures or romances. Tiziana Scandaletti's acting voice is ideal, as well as it works with particular sound suggestion that the line of the piano theatrically supported by Piacentini has the antique voice of a nineteenth-century piano, an Erard of 1904.
” (Angelo Foletto)

From the e-mail of the chair of Department of Music at UMBC University of Maryland in Baltimore County – April 23rd 2018
“Dear Tiziana and Riccardo
[...] it was an absolute pleasure to welcome you to UMBC, and to hear your wonderful performance! The students were very intrigued and inspired by all that you presented, and I had many discussions with them about the value in making a performance both beautiful and surprising!” (Linda Dusman)

From QN - Quotidiano Nazionale – April 15th 2018: Listening to the beauty. Verses by the Vate and notes by Tosti, a true Consolation
“A recent CD Urania Records (2017) contains lyrics by Francesco Paolo Tosti (1846-1916) on verses by Gabriele d'Annunzio (1863-1938). The interpreters are the Duo Alterno, soprano and piano, so meritorious in the diffusion of the music of our twentieth century [...] the CD offers the poem 'Consolazione' (1916), 17 quatrains of endeasyllables taken from the 'Paradisiac Poem' [...] A very strong bass note and a prelude introduce the initial exhortation, 'do not cry anymore'. A fervid murmur envelops 'Dreams, dreams, my dear soul!'; bare, empty piano chords evoke the silence of an instrument dumb from years [...]” (Giuseppina La Face)

From Classicaonline – March 2018: The late Songs for soprano and piano. Duo Alterno. 1 CD Urania Records LDV14033
“Cd with a refined look, for an equally refined program that sets the focus on the last group of Tosti's production, pages composed between 1915 and 1916, mostly on the texts of the beloved D'Annunzio [...] perfectly framed in the ‘twilight’ sensitivity of Italy between the nineteenth and twentieth centuries. The Duo Alterno [...] considered a reference point for the vocal chamber repertoire of the twentieth century and contemporary, offers many ideas to find in Tosti's music stimuli that allow you to understand how it is reductive to brand this composer as a minor author in the panorama of late nineteenth century. In fact, Tosti, beyond the unmistakable melodic vein that distinguishes his stylistic code, is an attentive researcher of the relationship between word and music: not secondary the fact of choosing above all the texts of D'Annunzio who is the greatest representative of a poem frankly ‘musical’ [...] This correspondence between composer and poet is clearly shown in this group of chamber romances, where, to get the maximum adherence between music and text, the composer does not hesitate to ‘break down’ - as well reported in the excellent accompanying notes - the unitary poems of D'Annunzio (La sera and Consolazione), in a sort of cycle to deepen the different aspects, now descriptive, now intimate, of the text. 'Breakdown of the text, aphoristic character, essentiality of the sign (and of the resulting sound), sub-cutaneous intervention that alters the formal relations of the words decided at the beginning of the author', as stated in the aforementioned notes, are proof that Tosti it is limited to being an epigone of the nineteenth century, but already an 'experimenter' [...] of themes that will go through the nineteenth century. And the Duo Alterno puts the accent, in its refined and elegant interpretation, on these aspects, illuminating the 'singing' of Tosti in the most unusual and modern facets that these late pages present. There is in these Tostian gems a clear will to express themselves through the essential, the meager, the absolute desire to avoid any rhetoric [...] So in the appendix, where a couple of piano pages are presented, the second of which is the 'Piccolo valzer' by Puccini, then used for the presentation of Musetta in 'La Bohème', Piacentini, who chose a 1904 Erard piano not causally, giving them the elegance and essentiality that make these small pages 'album sheets' of uncommon quality, so deprived of any sentimental rhetoric often stuck by a deformed vision of late nineteenth-century sensibility. Complete this excellent program the interesting experiment, characteristic of the Duo, on the research 'photo-music with photo-sounds', where the 'soundscape' of Ortona, the birthplace of Tosti is portrayed: the artists have 'captured' among the houses of the time the fountains and the cobblestones that still smell of the past era, the 'acoustic context that, merged in more recent sounds, even today resists', presenting it in such genuine dress and, therefore, placed in counterpoint with one of the rare duets vocal of the author's production, 'Aimez, quand on vous aime!', obtaining an interesting and original result that closes in an unusual way a program no doubt uncommon for those who superficially liquidate Francesco Paolo Tosti as author of ‘lounge songs’.” (Bruno Belli)

From “Il Giornale di Voghera” – January 29th 2018: Success of the first concert of Alia Musica. A journey to the “isle that does not exist”
“There are valid musicians as teachers, but not as composers or performers. There are those who perform well in the recording studio and live concert, and those who give the best only in front of the audience. There are good interpreters who are little looking and studying, and scholars who neglect the voice or the instrument. There are singers who have breath and not taste, or taste and breathless; it is the soprano with the slim mind of a mannequin and an even slimmer voice, and there are those who have a mighty thorax but resemble a wardrobe. There are those who have the technique and not fantasy, and there are the creators who are limping in the technique. Bringing together all the positive qualities in a single person, even more in debt, is a real miracle. But it happens. The miracle I had Sunday afternoon at the Historical Museum, in the 'twilight concert' of the Duo Alterno dedicated to the Shoah: the first of the concerts of the new review of Alia Musica. Tiziana Scandaletti [... and] Riccardo Piacentini [...] have held concerts in all five continents, recorded about twenty CDs, deepened - for records and for concerts - music and composers known and less known, have experimented novelties like the 'fotosuoni' and moreover they are a nice couple. In art and in life. Tiziana has a voice from far away the chandeliers tremble and beautiful timbre, but does not use it to 'make a scene', but to put it at the service of interpretations superfine words and notes. Riccardo, pianist and composer, has worked and intrigued with his 'fotosuoni', sound impressions that accompany images projected on screen during the [...] execution of famous composers have dedicated numerous pages to the Duo Alterno. The duo has offered us a "crepuscolare" Francesco Paolo Tosti, with texts by D'Annunzio, but also with a piano waltz; and another waltz, by Puccini [...] Other more direct to the Jewish tradition, the poignant 'Kaddish' of Ravel, superbly rendered. We thanked the applauded artists for having taken us a bit into the country of Youkali, the island that is not owned by Kurt Weill. It was one of two encores: the other, a soundtrack that certainly everyone accepted, let's leave it in mystery. In Youkali.” (Elena Cristina Bolla)

From “Musica” – December 2016 - January 2017: The Italian contemporary voice vol. 6 (top score *****)
“We do not know if this is their last CD dedicated to the Italian contemporary voice, but it is sure we can make a balance of this project, developed over a decade. The recorded pieces belong to the last 60 years, but they go also back to the watershed at the end of the Second World War, proposing for instance works of Petrassi and Scelsi too. The most various tendences are represented, from Berio to Battistelli to Ferrero: the importance of a project like this, and in these times, can be understood thinking to the tradition role of singing in a Country like ours, and then there is the stimulus value that it gives both to composers and performers. All the pieces in this volume (except, for evident reasons, Cage’s “Aria”, 1958) have been dedicated to the Duo Alterno. Luigi Esposito [...] his ‘Sei metri quadrati’ is in fact a ‘pièce teatrale’ [...] the pianist-actor acts on the piano, that is on the keyboard as well as directly on the strings, and pronounces part of the text (with excellent acting skills, we have to note); the soprano alternates passages speaking, ‘glissando’, singing, in a piece where the text is the true guide [...] Giuseppe Giuliano [...] with his ‘Click-photofit’ realizes an hommage to the great photographer Henri-Cartier Bresson [...] the piano performer works also on percussion instruments, while the singer realizes pitched notes, very short segments characterized by interval jumps, single syllables or consonants, in a reality that appears always changing, made on instants more than sound-silence jokes [...] Singular figure who has gained great international prestige is Adriano Guarnieri [...] singing, and undirectly the voice, has been always a fundamental element in Guarnieri’s music, which here finds a strong expression that seems wanting to force the text [...] Here we are then with Carlo Alessandro Landini’s ‘Mothers of Hope’, a piece where the voice realizes wide melismas and there are warm sound characteristic in the piano part: hard to resist to the charme of this work [...] Finally ‘Aria’, written by the American John Cage in Milan [...] Cage had previewed this piece performed together with excerpts of his other compositions, ‘Fontana Mix’ or ‘Concert for piano and orchestra’ [...] the durations varies between 5 minute about (Nicholas Isherwood) and over that 10 (Cathy Berberian and here the Duo Alterno) [...] From the different recordings of this piece we can see how Berberian’s voice is fully merged, almost absorbed by the electronic piece (‘Fontana Mix’), as a component among the others; conversely (we describe a choice) Scandaletti’s voice stands out compared to the recorded part, with excerpts by the ‘Concert’ [...] to the Duo Alterno we have to recognize not only interpretation skills, but also high creative qualities in catching the sense of signs and building, with the composer, the true final piece. Piacentini’s piano has a tinny sound; Scandaletti shows remarkable technical skills and a pretty wide range: it is impressive to listen to a singer (se the final pitches in Guarnieri and Landini) who is so able in performing long and very high notes keeping a slight dynamic, a sort of Giotto’s circle in music field.” (Gabriele Moroni)

From “Suonare News” – November 2016: Interview with the Duo Alterno. That short circuit that gives the shock

“Riccardo Piacentini and Tiziana Scandaletti are since twenty years a reference point in the Lieder repertoire of Twentieth Century. In there musical discour, phrasing become communicative gestures to build with the people. On stage in Piedmont their ‘soundscapes’, till November 24th. The memory of Francesco Paolo Tosti, who ennobled the genre of ‘romanza da salotto’ [...] in 2017 the Duo Alterno feast their 20 years of activity, wishes! [...] about 70 living composers has dedicated their pieces to the Duo Alterno, such as Morricone, Manzoni, Procaccini [...]” (Filippo Michelangeli)

From "Amadeus" – January 2016: The art of singing (and playing) reciting
"[...] in the foyer of Teatro Verdi in Padua [...] it was held the concert ‘Il teatro in una stanza’ [The theater in a room]. The concert started with a brief presentation by Piacentini on the evening, an idea that was crucial for better understanding the program. Then Berio’s 'Four popular songs' was performed, an impressive beginning to show the remarkable and powerful voice of Scandaletti and the wonderful technique of Piacentini, as well as making immediately clear the harmony between the two musicians [...] Heart of the program was the selection by ‘Epitaffi sparsi’ [Scattered Epitaphs] of Morricone, in a version with preludes and postludes dedicated by the author to the same Duo Alterno. Besides the advantage of showing the not film side of the very famous composer, this piece had also the task of introducing the concept of acting theater inside the concert, between declamations of the pianist and stage movements of the singer, not last the climb over the piano in the eighth ‘Epitaph’. This concept then was taken to extreme levels by Ada Gentile’s ‘How Betty Boop spends her daytime’, written in 2006 and dedicated to the duo [...] At the end of the program there were the ‘Four songs on ancient Neapolitan texts’ of Giorgio Federico Ghedini [...] that again confirmed the strong technique and precise sound research of the two performers.” (Alessandro Tommasi)

From “The Jakarta Post” – October 18th 2015: Il Duo Alterno: Italian era intimates Asia
“[...] The contemporary composition ‘À la vie’, by Riccardo Piacentini and sung by Tiziana Scandaletti under the name Il Duo Alterno, pivoted between 100 years of essences captured, with ‘I Sonetti delle fate’ by Gian Francesco Malipiero and ‘L’adieu à la vie’ by Alfredo Casella, becoming nexus in explaining a world so distant in outlook as 1915 Italy. [...] Present were diplomats including Russians, Spaniards and Indonesians ready to be infused with the cultural exchange marking a historical moment. Each person in Il Duo Alterno was acknowledged by their command of vocal chamber music, a form of intimacy in song different to opera, which, sung Scandaletti, has the heights of a soprano with the aesthetic of confided storytelling. [...] To the ears and hearts of Piacentini [...] and Scandaletti, an opera-trained soprano [...] the nuances of different experiences in Italy can be traced through compositions. [...] Texts from Rabindranath Tagore, who won the 1913 Nobel Prize in Literature, complimented the pieces, alongide Rilke and Gabriele D’Annunzio. Expressing intensities on love, war and death a century ago by uncovering mysticism with the ecstasies of poetry, it was an eye-opener, brilliantly placed by Il Duo Alterno, on how the world changed. As text over Piacentini’s video projections and his coined ‘foto-suoni’ manifested those responses to war [...] ‘human sound for human people’ [...] as Italy’s best fly in and exchange ideas on many historical and modern interpretations.” (Angus Mitchell)

From “Il Mattino” – September 12th 2015: Lectio and CD
“[...] Stradivarius has published the sixth volume, recorded by the Duo Alterno, of the famous serie ‘La voce contemporanea in Italia’ (The Italian contemporary voice) [...] the cd includes works by Giuliano, Guarnieri, Landini, Cage and [...] Esposito [...] the cover has a page of his score ‘Sei metri quadrati’ (Six square meteres) that opens the entire album. ‘I have certainly to say that the interpretation of the Duo Alterno, formed by the soprano Tiziana Scandaletti and the pianist Riccardo Piacentini, has been particularly refined and technically brilliant, with moments of strong linguistic/musical narration, cruel, delicate and with spirit of irony’. Very gently Esposito pays homage to the performers.” (Enzo Battarra)

From “Gazzetta di Mantova” – July 19th 2015: “El fior robà”, success and applause at Palazzo Te
“The stolen flower, El fior robà, this is the title of the concert that soprano Tiziana Scandaletti and pianist Riccardo Piacentini held Friday night at the Lodge of David in Palazzo Te [of Mantua], in the framework of the summer season of Music Society. [...] Scandaletti and Piacentini form a solid and inharmony ensemble, tested for nearly two decades of activity, leading to a beautiful fusion of intentions and expression constantly well balanced. [...] Pianist and singer have crossed their respective qualities of a wide stylistic culture. Many applause, two encores [...] "(A. Z.)

From “La Stampa” – July 3rd 2015: Classic in the Park
“With Rive-Gauche the surprise is sure. From many years Riccardo Piacentini’s and Tiziana Scandaletti’s association has made its mark in the music scene with proposals where the avanguarde is not an end in itself, but follows logical paths.” (Leonardo Osella)

From “Suonare News” – June 2015: The Great War among sounds and images. À la vie by Riccardo Piacentini
“All in the world is music. It seems to reflect the thought of Riccardo Piacentini, reknown composer, pianist and teacher from Turin. The world, in fact, has allowed him to ‘invent’ the ‘foto-suoni’ [photo-sounds]. The ambient ‘music’ is in his last work: À la vie, for piano (one or two performers), videoprojections ad libitum and ‘foto-suoni’. Published by Curci, it (re)uses heterogeneous material: painting (Malevic and Boccioni), literature (Rilke, Duino Elegies) and music (Casella, L’adieu à la vie). These productions date back to the First War. À la vie, in fact, starts with a ‘crazy’ march. Life, death, love, pain, happiness and transience converge in a deep work but accessible. The instrument is much exploited, also inside (piano strings, mechanical parts). To whom plays are requested emotions and theatricality. The cd includes the ‘foto-suoni’ for the performance. By the end the march returns, but resigned. La vie melts in the cycle of life. And in the eternity.” (Antonio Galanti)

From “CD Classico” – April 2015: The Italian contemporary voice vol. 6 (artistic score ****, technical score *****)
“[...] The feeling one gets listening this CD is not so much of a ‘new vocality’, rather than a quite traditional vocality, though articulated in a quite excentric manner, applied to new moods of thinking music. The composers here involved are very respectable (note among the others John Cage put at the end, with a piece composed in Milan in 1958). They represent the best that Italy has been able to produce in these last years. The musicological notes are very rich and constitute a remarkable essay (in Italian) by Andrea Bedetti.” (Fabrizio Capitoni)

From “Amadeus” – January 2015: The Italian contemporary voice vol. 6 (artistic score ****, technical score *****)
“The sixth volume of ‘La voce contemporanea in Italia’, precious collection of the new vocal repertoire realized by the Duo Alterno (Tiziana Scandaletti, soprano; Riccardo Piacentini, piano) includes five compositions: Sei metri quadrati (2010) by Luigi Esposito, Click-photofit (2011) by Giuseppe Giuliano, Rilke Lieder I, II, III (2012) by Adriano Guarnieri, Mothers of hope (1997) by Carlo Alessandro Landini, Aria (1958) by John Cage. With exception of Cage’s piece, in the version for voice and piano composed in Milan in 1958 for Cathy Berberian, all these works are dedicated to the Duo Alterno. In Sei metri quadrati [Six square meters] an explicit, vivid scenic dimension imposes itself [...] as well as in Click-photofit, where the plot of the interaction between voice and piano moves from the reciprocal relations among sounds, words and images. Then an oneiric and visionary projection substantiates the incandescent density of the three Rilke-Lieder, while the vocal melodies and the color palette of Mothers of hope are inspired by a painting of Francesco Clemente. Different vocal styles and different languages characterize the playful and caleidoscopic virtuosity of Cage’s Aria, that worthily concludes a musical program paginated and impaginato and interpreteted with passion and intelligence by the Duo Alterno.” (Cesare Fertonani)

From “GBOpera Magazine” – December 2014: The Italian contemporary voice vol. 6
“With particular pleasure we present the sixth CD of the series ‘La voce La voce contemporanea in Italia’, in which the Duo Alterno interprets four works dedicated to him from four Italian living composers, to conclude with a classic of contemporary, Aria, written by John Cage in 1958, for Cathy Berberian’s voice, during his staying in Italy. The CD, published by Stradivarius (STR 33976), was released to press the 13th of September 2014.
It is known the interest of the Duo Alterno for the relations between sound and image, between music and visual arts; an interest that is fed through his continous visits to the most important museums of the world during the international tours or even performing inside suggestive museum spaces. In their specific work of searchers and interprets, Tiziana Scandaletti and Riccardo Piacentini consider essential ‘to live’ the graphic impact wanted by the authors in their manuscripts or in the final editions by themselves cured, that is a distinctive feature – this relevance in the graphic aspects – of the most recent music as it emerges in each score of the pieces included in this CD. Particularly: the painting-musics [‘musiche pittoriche’] and the graphic styles present in Luigi Esposito’s score evoke the truculent images of the crudely explicit text of Guido Barbieri on Guantanamo’s shame; the work by Giuseppe Giuliano on the photograph Henri Cartier-Bresson, as well as on texts by Dan Albertson, brings to light a ‘metaphysic of objects’ (graphic and physical); the pictographic density of the score of ‘Rilke Lieder’ by Adriano Guarnieri corresponds in its own way to the metaphoric images whose overflow the texts of the German poet; the very refined musical watercolor ‘Mothers of hope’ by Carlo Alessandro Landini reveals explicit references to homonymous painting by the Neapolitan-Newyorker artist Francesco Clemente. At the end of the CD one of the archetypical works of Jonh Cage, whose score is based on a particular notation, but simple at the same time: a sequence of variously colored lines, that represent the modulations of the wind range singing. For each color the performer will freely associate one different style of singing: for istance – these were the choises made by Berberian –, dark blue can be associated to a jazz approach, black to a dramatic approach, violet to a Marlene Dietrich style, brown to a nasal timbre, and so on. It is about graphic artifices, that anticipate the musical comics of Cathy Berberian and many of the variously pictographic works of Sixties and beyond, from Berio to Maderna to Bussotti.
But living the relation sound-image is translated by the Duo Alterno also giving to their performances a synaesthetic approach through videos, stage movements (included those of the verbal presentations conceived as part of the show), “foto-suoni”, that are sounds recorded during the various steps of a tour and diffused in real time during a certain event for giving it a more three-dimensional perspective and particularly through the piano interludes. In this regard, it is absolutely not secondary for the soloists of the Duo Alterno the link of a certain musical piece to the place or places to which it is associated: for example the place of the first performance is often connected to the content of the piece. The result, synthetically, is a conception of music where it – far from being an absolute art that expresses only itself – always presupposes a ‘key to reading’, where the images evoked by sounds assume a deep meaning not only for the listener, but also for the same performer. The latter, first listener of him/herself, cannot avoid  to project the sound in a universe of colors and images: it will not be a coincidence if the timbre is often called ‘color’, and not only in the Italian language, and if so many visual metaphors are utilized in the field of music.
So these are the inspiring criteria of Duo Alterno’s activity, as the content of this CD confirms, whose interest stems also from the qualities of interpretation of the two artists, particularly (without taking off nothing to the skilful pianist) from the versatility revealed by Tiziana Scandaletti, facing a so various repertoire. Extremely convincing the performance of the soprano in ‘Sei metri quadrati’ [Six square meters] by Luigi Esposito, where the unquiet story is carried out by the two narrators (the ex-prisoner and his mocking woman interlocutor), who at the beginning express two different points of view, but very soon in the rest of the piece are mixed together. Here Scandaletti follows with great interpretative effect the vocal line, that, between tra claustrophobic spaces and fetid smells, alternates to an emphatically expressionist declamato, hallucinated melismas and rhythmic passes of syllabic singing, in the crucial moments of the grim evocation, while the piano proceeds with great freedom among dissonant clusters as well as glissandi and pizzicati, obtained by acting directly on the strings.
Similar interpretative mastery of the soprano in the piece of Giuseppe Giuliano, ‘Click-photofit’ (on French text), where the piano has a preeminent percussive role also in the direct intervents on the strings (especially low), joining to other percussions, and singing is still made up of melismas with quick flicks by the voice to the high range or the low one. The soprano is also very effective in phrasing, characterized in this case too by an evident expressive exasperation, which focuses on the preliminary long and extremely sharp consonants, in particular ‘s’ and the group ‘tr’.
Absolutely up as a means voice and intelligence in its use, the soprano in the two following pieces: ‘Rilke Lieder’ by Adriano Guarnieri, on fragments of poems by the German poet – where the piano ha more traditional role, though through a dissonant harmony, while the singing is mainly characterized  by long pitches between passages in full voice [a piena voce] and sweet ‘filati’ within a wide range – , and the aphoristic piece ‘Mothers of hope’ by Carlo Alessandro Landini, on English text of the same Author, where singing is still characterized by melismas and wide range, with piano accompaniment formed by rythmic figures and harmonic structures in some way still connected to the tonal world. On the last piece, the outgoing and easygoing John Cage’s ‘Aria’ – a sort of pastiche, where elements taken from jazz, folk music, opera repertoire, oriental music, prose theater, etc.  dove convivono elementi desunti dal jazz, dalla musica popolare, dal repertorio operistico, dalla musica orientale, dalla prosa teatrale, ecc. live together –, the intepretation of Tiziana Scandaletti reveals a versatility, control of voice, verve like Cathy Berberian. It is not a compliment of way.” (Roberto Campanella)

From “Blow up” – November 2013: Duo Alterno The  Italian Contemporary Voice Vol. 6
“Tiziana Scandaletti, soprano, and Riccardo Piacentini, piano, are two expert performers, not simple chamber players. The series on the voice is of their own ideation and in present chapter we find works by Esposito (Sei metri quadrati), Giuliano (Click-photofit), Guarnieri (Rilke Lieder), Landini (Mothers of hope) and Cage (Aria). We listen them wandering casually among scores that have a strong visual and theatrical. To appreciate live if captain shot.” (P. Poggio)

From “Suonare News” – October 2013: Meeting with the Duo Alterno. The most beautiful couple of the ‘contemporary’
“Riccardo Piacentini and Tiziana Scandaletti met at the Conservatory of Turin and, since then, they travel all around the world bringing the new Italian music in every corner of the planet [...] even in unusual and inaccessible places as Addis Ababa, Ethiopia, two thousand meters high, and Alekkip, Peru, in the midst of volcanoes, and also in Mongolia, Kazakhstan and Uzbekistan... Their headquarter is in Turin [...] Dialogue between artists and public to bring everyone to a repertoire which is struggling to establish itself. Then concerts , teaching and organization [...] ‘because being a musician today requires that’ [...] The Four popular songs by Berio are one of their strong points, but other authors of reference are Ghedini, Casella, Alfano , Malipiero [...] and they also like to wander among living composers: they have worked with Morricone, and Guarnieri has dedicated a piece that will be recorderd soon on a CD. Their path is summarized in the five volumes of ‘La voce contemporanea in Italia’ by Stradivarius.” (Giorgia Leso)

From “Il Giornale della Musica” – November 2012: The Italian voice, as it is today
“The Duo Alterno’s project on one of the most karst ensemble in the contemporary compositional thought [...] lands to its fifth episode, themed around love, that does not fear eclipse nowadays but accepts many stylistic disguises: starting from the Canzoni d’amore [Love Songs] by Ferrero, a compilation of 1985, dated but not aged [...] excellently supported by the fine performers. They also manage brilliantly in the other recent works, from the two theatrical-musical extracts by Battistelli and Vacchi [...] to the four Divertissements that involve [...] other instrumental soloists (Carla Savoldi and Virginia Arancio), the Orchestra I Pomeriggi Musicali conducted by Roberto Gianola, and the process of sampling-layering of sound slides (the ‘foto-suoni’) dear to the composer Piacentini.” (Alessandro Mastropietro)

From “L’Italo Americano” – October 11th 2012: Duo Alterno – The Sound of Things in Los Angeles
“Surreal, anarchic, original, ‘décalée’, entertaining [...] Duo Alterno is this and much more. Formed by pianist Riccardo Piacentini (professor of Composition at the Alessandria Conservatory) and vocalist Tiziana Scandaletti (professor of Vocal Chamber Music at Santa Cecilia Conservatory), the Italian artists performed in Los Angeles for the second time, guest of the Roy and Edna Disney / CalArts Theater (REDCAT), surprising the audience with their show ‘The Sound of Things’. The interdisciplinary contemporary arts center in Downtown LA is known for encouraging experimentation in all the art fields, and no better place could in fact host Duo Alterno for this rare US appearance supported by the local Italin Cultural Institute. Considered one of the most interesting projects of the last years, Duo Alterno presented the results of its experimental research. Their art is a mix of philosophy, esthetic, and music [...] Sounds, objects and movements we would never expect can create something beautiful, like the closed piano that Piacentini ‘plays’ by touching its surface, while the vocalisms of Scandaletti ‘fill in’ the space. The message is: every little sound is important in music, as well as every little brushstroke is important in painting. Music meets words then. Piacentini and Scandaletti accompany their music with lyrics taken from John Cage [...], Carlo Alessandro Landini [...], and alternate them with their own compositions, like Jazz motetus VI and Rataplànplanplan. This last one is the perfect synthesis of Duo Alterno’s theories: a mix of sounds and pictures taken in California, Hong Kong and Italy. The Pacific Ocean is no longer an element of separation, but a connection between parts of the same reality. The show goes on with Ophelia Fragmente by Luca Lombardi [...], traces of Italy in Epitaffi sparsi by Ennio Morricone [...]. Come passa la giornata Betty Boop is the climax and closing act of the show, a funny, crazy performance that perfectly reflects the paradox of Duo Alterno... A duo that seems to have found some harmony between order and chaos. [...]” (Charlotte Raniero)

From “Los Angeles Times” – October 3rd 2012: Duo Alterno in adventurous musical form at REDCAT. The high theatrics of soprano Tiziana Scandaletti and pianist Riccardo Piacentini, who perform as Duo Alterno, captivate at a REDCAT performance
“When singers are accompanied by pianists, they tend to be just that: singers… and their second bananas. No matter how much importance a composer puts into the piano part, no matter how significant the pianist, the voice feels primary. By its name, the Duo Alterno, which specializes in modern Italian music and which appeared at REDCAT on Tuesday night, makes an effort toward parity. [...] Scandaletti has a strong personality. She can seem a little on the strident side vocally, but she is an avid actress. She wore three outfits for this recital and took on different personae for different pieces. She had no hesitation kicking off her high heels and coquettishly lying on the piano, displaying some leg and flirting with the pianist and audience in a crazy piece by Ennio Morricone. She proved equally game at alternating the role playing. For another number, she took out a dog leash, yanked her accompanist off his piano bench and walked him about on the stage on all fours. That was an avant-garde Italian take on Betty Boop by Ada Gentile. [...] The Modernist Italian works came from the past three decades. Luca Lombardi’s 1982 ‘Ophelia-Fragmente’ is a setting of a violent German text by Heiner Müller, translated into English. The aggressive piano part doled out abuse. The soprano conveyed powerful angst. Excerpts from Morricone’s “Epitaffi Sparsi” (Scattered Epitaphs) from the early ‘90s, trucked in absurdity. The text by Sergio Miceli begins with the line ‘I couldn’t give a damn about Spoon River’. The style of Morricone’s many concert works can be considerably more avant-garde than that of his film scores, and for all the seductive playfulness he afforded Scandaletti, he paid just as much mind to Piacentini. The last scattered epitaph was a parody of a pianist playing his scales, flamboyantly attempting to master the ‘pianoforte’, but struck down before he could become a ‘mezzofortist’. Introducing Gentile’s ‘La Giornata di Betty Boop’, written six years ago for the duo, Piacentini described the piece as an imagined day in the life of the cartoon character. And also as a joke on him. He then went off stage and returned without his suit coat and with a tail pasted onto his trousers. Sandro Cappelletto’s text is full of nonsense. Betty studies and takes Boby for a walk. Her pouty lesson in solfeggio is a parody of musician names — ‘A-a-abbado!’ ‘Mu-u-ti-iiiii!’ ‘Zu-u-bi-bin!’ ‘No-no-nono!’ A waltz turns into rock music. And Piacentini/Boby prances, no second banana but proud pooch.” (Mark Swed, Los Angeles Times Music Critic)

From “Musica” – September 2012: The Italian contemporary voice vol. 5 (artistic score ****)
“[...] The Duo Alterno was able to convince to its strong narrative vein. The works recorded here are genuine songs of love [...] licensed in these past few years and devoted expressly to this duo. The CD is completed by a rich and in-depth essay signed by Guido Barbieri which is worth reading.” (Massimo Viazzo)

From “Classic Voice” – June 2012: Contemporary. The Italian chamber lyric vol. 5
“Tiziana Scandaletti and Riccardo Piacentini since 1996 are musically associated as Duo Alterno and, in this role, they give life to one of the most interesting recording projects of recent years, not counting the countless concerts kept in all the world. This is a precise and intelligent field choice: instead of swelling the ranks of artists who do always the same things, the two musicians have decided to devote themselves - thanks also to the composer activity of the same Piacentini - to the Italian contemporary chamber lyric, starting their exploration since the dawn of the twentieth century (magnificent their recordings of Ghedini, Casella, Malipiero, Tosti), right up to the present day. [...] The couple Scandaletti-Piacentini performs the interesting Canzoni d’amore by Lorenzo Ferrero [...] two transcriptions by Vacchi and Battistelli, expressly created for the Duo [...] pieces by Pieralberto Cattaneo, Victor Andrini and the same Piacentini, here facing, in Canson Piemontéisa, with his now-classic ‘foto-suoni’, this time accompanied by the orchestra of I Pomeriggi Musicali, well directed by Roberto Gianola.” (Carmelo Di Gennaro)

From “Il Sole 24 Ore” – May 20th 2012: Noteworthy. The cosmos in the ‘foto-suono’
“Riccardo Piacentini is a composer who reflects on music, and with particular knowledge of what it’s risky to theorize; he reflects on his own music, without complacency (and for this we’re happy to talk about him) but with a strong desire to communicate. What impresses a trademark of his work as a musician, which expands conceptually but also in the external image his activity as a composer, is his fidelity to an absolute moment: that one in which the sound reaches the listener and causes a change in him, even small, even infinitesimal, but irreversible. For helping himself in this ‘Kunstwollen’ (because Piacentini is entirely a man of music, and his intent is to make music to the bitter end, theorizing, when he does this, not by strategy but by maieutic will, that is for trying to give birth to the music inside the soul and possibly inside the fisical body of everyone), he put, in what he does, his own face, his own figure. Not only his. As well known even in remote countries of the planet – and we say this without hyperbole since that’s exact – Riccardo Piacentini is linked to Tiziana Scandaletti, singer and woman show of inimitable style, in a couple of life lived together and of theatrical and musical art designed in rare harmony [...] The background of thought and experience that always appears in this book [I suoni delle cose], even backlight, is an aim as it were cognitive: recognizing and make possible recognizing that the musician, in the center of his music radiation, is the point of intersection of infinite realities of the external and internal world, of time and space, intelligence and emotions, empathy and abstraction. The concept whose formulation is due to Piacentini, the ‘foto-suono’, contains a nucleus that reminds us the origins of our cosmos [...] In the enclosed CD, the concept of ‘foto-suono’ is designed and defined, among other things, by the unlimited malleable voice of Tiziana Scandaletti [...]” (Quirino Principe)

From “Il Corriere della Sera”, insert “Corriere del Veneto” – April 12th 2012: «Catching the sounds of things. A journey through the music»
“A journey inside the sound, or better a journey translated in sound [... The voice is] the most complete ‘foto-suono’ that has ever existed, the most human [...] expressivity goes beyond the fine craftmanship of a work, and the voice represents one hundred percent this idea. From the experience alongside masters such as Ennio Morricone, Franco Donatoni and Carlo Pinelli, Piacentini gives us a new experience. And together with him Tiziana Scandaletti made it clear interpretating the suggestive Cathy Berberian’s ‘Stripsody’.” (Orsola Bollettini)

From “Suono” – February 2011: La voce contemporanea in Italia vol. 5
“Ferrero, Battistelli, Vacchi, Cattaneo, Andrini, Piacentini are the composers [...] Doubt, betrayal, pain are realized from the voice with a variety of accents, without artifices. The piano emphasizes phrasing and enhances feelings [...]” (Paola Raschi)

From “Amadeus” – November 2011: The Italian contemporary voice vol. 5 (artistic score ****, technical score *****)
“[...] the Duo Alterno [...] is the leading actor of the recording. Around the voice of Tiziana Scandaletti and the piano of Riccardo Piacentini there are however other valid performers: Carla Savoldi (flute), Virginia Aranciio (elecrtic guitar) and, for the elaborations of popular songs by the same Piacentini, the Orchestra I Pomeriggi Musicali conducted by Roberto Gianola. These last pages, Canson piemontèisa and Canzóne napulitane (2010), form with the cycle Canzoni d’amore (1985) of Lorenzo Ferrero the backbone of the recording, dotted with the brief pieces by Giorgio Battistelli (Lettera di Angela, 2008-10), Fabio Vacchi (Aria di Nadia, 2009), Pieralberto Cattaneo (Se..., 2009), Victor Andrini (Marcello’s Divertissement, 2008). Pleasant to listen, the program is performed with the appropriate energy and spirit (therefore often playful and overtly ironic), but also with an high accuracy for the interpretation that we can appreciate from the beginning to the end allowing to capture delicious shades, unexpected details and other pleasantness that are revealed.” (Cesare Fertonani)

From “Blog Chitarra e Dintorni” – November 1st 2011: New Music
“Fifth CD dedicated by Stradivarius label to singing and use of the voice in the Italian contemporary music [...] well performed pieces from the Duo Alterno [...] the voice here becomes a pretext to activate a link with the tradition [...] mediating towards ‘melody’. What’s better than doing this through the sweetness and the tradition of the voice? [...] The Duo is not alone in this path [...] it is accompanied from the flute of Carla Savoldi, the Orchestra I Pomeriggi Musicali directed by Roberto Gianola and the electric guitar of Virginia Arancio [...]” (Andrea Aguzzi)

From “La Stampa” – September 30th 2011: Contemporary voices. Seven love songs and strophes from Piedmont for the Duo Alterno
“As convinced and assiduous supporter of the recent songs, the Duo Alterno [...] proposes for Stradivarius label the fifth CD dedicated to the ‘Italian contemporary voice’. Here there are Lorenzo Ferrero [...] Giorgio Battistelli [...] Fabio Vacchi [...] and a look to the past is in Se... [If...] by Pieralberto Cattaneo and Marcello’s Divertissement by Victor Andrini [...] Then the same Piacentini takes the field using those ‘foto-suoni’ that he likes so much [...] with the Orchestra dei Pomeriggi Musicali directed by Roberto Gianola. Tiziana Scandaletti shows, as always, an extrahordinary interpretative ductility, relying on her clear and communicative voice. The feeling with Riccardo Piacentini [...] is total. So this is the fifth CD of the series and the fifth goal optimally achieved.” (Leonardo Osella)

From “Centro Valle” – September 3rd 2011: Altre Note [other sounds] wrap
“Refined sounds thanks to the proposal of Le Altre Note Festival [with the Duo Alterno protagonist in Bormio - Italy of a] singular performance of pure and fine contemporary chamber music [...] seasoned with dialect poems in music [...] with a remarkable ‘vis comica’ in a contagion of emotions [...]”

From “Rockerilla” – September 2011: Duo Alterno. The Italian contemporary voice vol. 5
“Duo Alterno’s path through the history of the Italian ‘contemporary’ vocal music goes on [...] The fifth chapter of this very precious work is all focused on love contemporary songs, concentrating on compositions almost written in the last three years [...] Among the composers, Ferrero, Battistelli, Vacchi, Cattaneo, Andrini [...] Piacentini, who exhibits all the necessary requirements in the role of composer, as well as being an excellent pianist.” (Daniele Follero)

From “corrierebit.com” – July 2011: New CDs by Milano Dischi
“[...] this is the fifth CD of the series La voce contemporanea in Italia [The Italian contemporary voice] and presents the Duo Alterno as protagonist of contemporary pieces by Italian composers like Ferrero, Battistelli, Vacchi, Cattaneo, Andrini and Piacentini. The Duo [...] in some works of the CD perform together with flutist Claudia Savoldi, Virginia Arancio at the electric guitar, and in Riccardo Piacentini’s pieces as composers with the Orchestra ‘I Pomeriggi Musicali’ conducted by the excellent Roberto Gianola. [...] The works are all recent except the first one by Lorenzo Ferrero, Canzoni d’amore, written in 1985 [...] with a tonal scripture easy to understand that, starting from an ancient compositional mode, finds a valid expression in the voice of Scandaletti and in the precise accompaniment of Piacentini. Giorgio Battistelli’s piece Lettera di Angela [Angela’s letter] (2008-2010) is from the recent opera Divorzio all’italiana [Divorce in Italian style] [...] The excellent reduction [for voice and piano] written for the Duo Alterno highlights the valid compositional writing that emphasizes the dramatic nature of the letter through the incisive voice of the soprano. Also the piece Aria di Nadia [Nadia’s aria] by Fabio Vacchi from Bologna is from a recent opera [...] Lo stesso mare [The same sea] of Amoz Oz is in fact recently staged at Petruzzelli Theater in Bari gaining a big success [...] The aria extracted by Vacchi for the valid Duo has a dramatic intensity that well underlines the genuine theatricality and the in-depth musical scripture of the composer. An evocation to the 18th Italian century music is in the two following pieces: Se... [If] (2009) [...] by Pieralberto Cattaneo [... and, by Victor Andrini,] Marcello’s Divertissement (2008) [...] Both these piece are dedicated to the Duo Alterno and the colour and the Rock style is interesting in the last one [...] The last two pieces of the CD are by Piacentini. They are the live recording of the concert kept in Milan at the Teatro Dal Verme on Novembre 2010. Canson piemontèisa [Piedmont song] on anonymous text is an original and lucky orchestral trascript by Piacentini of a popular melody by Piedmont. The melancholic atmosphere at the beginning is then invigorated through an orchestral writing with many Mahler’s suggestions and also references to Berio’s transcripts. The three following pieces too, from Quattro canzóne napulitane [Four Neapolitan songs] (2010) on Donizetti’s songs show the good skills in orchestration by Piacentini that joins to his piano cleverness timbric choices that are meaningful and expressive. Always fine Scandaletti. A various and organic CD because of the optimum choice in the music material [...] A CD to buy.” (Cesare Guzzardella)

From “L’Eco di Bergamo” – February 9th 2011: Duo Alterno in Piatti Hall between piano and «foto-suoni»
“[...] The opening of the thirtieth anniversary of the ‘European Encounters with Music’ [...] occurred in the sign of Donizetti and his chamber songs, prototype of a successful genre, as then heard in the lyrics of Tosti: pages where, in addition to the fine fellowship between the two artists, we appreciated the verve and the significant expressive phrasing of the singer [...]” (B. Z.)

From “Il Resto del Carlino” – January 21st 2011: Discovering the contemporary repertoire for voice and piano
“[...] the Duo Alterno [...] undisputed excellence of Italian art, as well as a happy example of how you can join a long tradition of experimentation and artistic path that shines for its originality and coherence in the international scene. Significantly entitled ‘Voice and gesture’, the concert provides a strong, multifaceted contemporary repertoire for voice and piano, with music by Berio, Festa, Piacentini, Morricone, Berberian, and Battistelli and Lombardi [...]”

From “The Sub-Saharan Informer” – December 17th 2010: The Wonderous Duo of Riccardo Piacentini and Tiziana Scandaletti
“Addis Ababa, Ethiopia – This week at the Italian Cultural Institute an event was held for more than two hours [...] the concert of the Duo Alterno [...] Italian journey is a brilliant musical trip of the Duo Alterno across Italy, from Turin to Venice, to Genua, Rome, Naples and Palermo. The guiding idea of this program is to discover the most beautiful Italian dialectal texts set to music by the best composers of 20th century. The Italian language is so rich of musical nuances especially by using the numerous dialect, and music cannot forget this! Particularly the voice-piano repertorie has dozens of masterworks where popular and culture are mixed together with an impressive variety of colours. [...] Leone Sinigaglia [...] Francesco Paolo Tosti [...] Ghedini [...] Berio [...] The program also includes two piano pieces by the living composer and pianist Riccardo Piacentini (1958) respectively inspired to Venice and Rome [...] a lovely and lyrical evocation of wonders [...] When opportunities like these come to our city we should all jump for joy and revel in the mastery of artists that love entertaining their audience. The Italian Cultura Institute should be commended for bringing event that broaden, enlighten, entertain, and bring joy to the the people of Addis Ababa. The duo will be in town for three performances to a sold out audience that doesn’t seem to get enough of the talents they have been lucky to witness.” (Bineyam G. Michael)

From “il Giornale della Musica” – November 2010: Voices of today
“[...] two excellent performers, especially in the contemporary repertoire, in which they allege an extraordinary flexibility in dealing with very different works by aesthetic and compositional technique, demonstrating how much this organic keeps still now enormous potentialities.” (Alessandro Mastropietro)

From “Amadeus” – October 2010: La voce crepuscolare (Artistic score ****)
“The precious work on the modern and contemporary voice-piano repertoire that the Duo Alterno since several years carries forward with quality and laudable constance enriches by a new element. La voce crepuscolare. Notturni e serenate del ‘900 [The crepuscolar voice. Nocturnes and serenades of 20th century] is appreciated for the musical interest as much as the originality of the cultural proposal, that offers a declination in music of the crepuscolarism, literary movement whose the cd celebrates the centenary [...]” (Luigi Abbate)

From “Arte e Arti Magazine” – August 1st 2010: La voce crepuscolare
“[...] especially human, and polite [,,,] finely committed in intimate atmospheres [...] The search of the Duo Alterno cleanly proposes the other face of the Futurism through the music by Tosti, Malipiero, Ghedini, Casella, Bucchi and Alfano, with a confrontation on the topic of the night according to D’Annunzio, Pascoli, Verlaine, Palazzeschi [...] The high relevance of these poets does not require comments or attributes. ‘La voce crepuscolare’, that is a really complex and undoubtedly rare work, allows new forms of perception on a so roaring and extravagant period [...]” (Francesca Vinci)

From “Rokerilla” – July 15th 2010: Duo Alterno. La voce crepuscolare
“[...] great intensity [...] great interpretative mastery and wide artistic perspective.” (Daniele Follero)

From “Musica” – July-August 2010: La voce crepuscolare. Notturni e serenate del Novecento
“A cd built with great intelligence [...] indubitable passion, diligence, intelligence [...] that never gives in to easy sentimentality, prefering a clean reading, but not detached, with admirable precision [...] In conclusion a cd that affects favorably.” (Nicola Cattò)

From “corrierebit.com” – June 15th 2010:
“[...] a cd Stradivarius with two major performers specialized in 20th century and contemporary music: soprano Tiziana Scandaletti and pianist Riccardo Piacentini [...] The cd titled ‘La voce crepuscolare - Notturni e serenate del ‘900’ is a collection of pieces written in the first half of the last century with Italian composers, many of them seldom listened. Tosti, Malipiero, Ghedini, Casella, Bucchi and Alfano are here performed [...] with expressivity and interpretative rigor [...] To buy.”

From “Cd Classico” – June 2010: CD Stradivarius, La voce crepuscolare, Duo Alterno (Artistic score *****)
“The Duo Alterno [...] is famous almost since 1997 as performer of the voice-piano repertoire from 20th century to today. This Cd can only confirm the value of these interpreters [...] The fans of the genre will appreciate the vocal technic, the beautiful color, and the delicate interpretative sensibility of Scandaletti as the elegance and skillness in piano accompaniment of Piacentini, that make so good these [...] little music jewels, like the intimate Van li effluvi delle rose by Tosti, the master in the genre, the hyronic Bucchi’s Rio Bò, the dreaming Alfano’s Melodia.” (Davide Dettore)

From “Extra! Music Magazine” – April 14th 2010: Duo Alterno: La voce contemporanea in Italia Vol. 4
“Interpretation that is partecipation to the creation of an art work [...] this seems to be the aim of the Duo Alterno. With Riccardo Piacentini at the piano and the voice of soprano Tiziana Scandaletti the Duo proposes eight pieces by contemporary authors [... where] the sound is intended as time of a resonant happening, when it comes out of the instrument and spreads itself across the environment, influencing both the performer and the user. So the soul motions of these works by Bussotti, Bortolotti, Abbado, Donatoni, Berberian, Bosco and the same Piacentini become sound pictures, very imaginative, functional to create various feelings [...] a cd for everyone able to let himself go and live the music as moment of an intimate sharing [...]” (Valentina Gianfermo)

From “The Washington Post” – March 31st 2010: In performance: Duo Alterno [...] offers fine contemporary Italian program
“Songs and Gestures in a Musical Space was the supremely apt title of the program that Duo Alterno [...] brought to the Levine School of Music’s intimate Sallie Mae Hall under the auspices of the Italian Cultural Institute [...] Songs filled the first half – a group of four popular tunes in graceful and trasparent settings by Luciano Berio, three atmospheric and colorful love songs by David Froom in their first Washington performances and, by Piacentini himself, a lovely and lyrical evocation of the wonders of Galileo’s contemplation of the universe, for piano and computerized sound. And ‘Gestures’, or perhaps theater or even sound effects, best describes the rest of the program. Marcello Abbado’s erotic Vocalizzo had Scandaletti singing into the raised lid of the piano [...] Two volunteers from the audience were enlisted to hold out the 12 feet or so of the pictorially notated score of Cathy Berberian’s Stripsody, while Scandaletti, moving from stage left to stage right, made popping, grunting and sneezing sounds and myriad other noises that might be suggested by the comic strips. She did this magnificently, even managing to sound like a Brooklyn babe for a snide comment or two. Sylvano Bussotti’s Lachrimae (‘Tears’) had Scandaletti again singing into the piano, but this time [...] evoking sympathetic vibrations from its strings [...] This was a well-rehearsed, smoothly executed program, and both Piacentini and Scandaletti are pros, both as musicians and as actors. Scandaletti has a big voice [...] she projected both humour and theatricality vividly. Piacentini played with restraint, close attention to balance and, where needed, with a fine sense of comedic timing.” (Joan Reinthaler)

From “4Arts” – March 18th 2010: Leading actors: the Duo Alterno presents his new CD
“[...] They are at the last step of their next CD that will be titled ‘La voce crepuscolare - Notturni e Serenate del ‘900’ [‘The crepuscolar voice - Nocturnes and Serenades of 20th century’], while they are also preparing baggages to USA, where they will land at the end of March. Tiziana Scandaletti and Riccardo Piacentini, well known as Duo Alterno, are a duo from Turin, one of the best in the landscape of contemporary music. ‘Turin is our creative base, I was born there and Tiziana is also living there’ Piacentini explains. Neverthless the Duo was born in Canada [...] The overseas success was so great that the Duo Alterno, born for a lucky coincidence, started moving their walks [...] till the collaborations with great composers. In primis Ennio Morricone [...] Tiziana says that “to understand and touch with our own hands how each composer approaches the music is really a unic experience’. Samely it is a unic and very particular experience to listen to live the Duo Alterno. The contemporary music is accompained by theatrical performances of rare beauty. And, if at the end of March they will leave to USA, in May they are waited in Beijing and Toulouse [...]” (Sabina Prestipino)

From “Classic Voice” – February 2010: La voce contemporanea in Italia n. 4
“[...] The idea is simple and important at the same time; the two artists [of the Duo Alterno] are devoting themselves to the recording of works for voice and piano by Italian composers, many of which - like s here in the case of Marcello Abbado (Vocalizzo sopra ‘Ma se mi toccano’ dal Barbierre di Siviglia) and Gilberto Bosco (... im Traume) - are dedicated to them. The skill of the two interpreters, as obvious, is not limited to their indubitable technical cleverness, but is properly extended to the very more important capacity to stylistically adhere to so various works, always putting their art at composers’ disposal (and not of their own ego). Apart the wonderful and and well known pieces of Franco Donatoni (... ed insieme bussarono) and Sylvano Bussotti (Lachrimae), it is remarkable an intriguing version of Stripsody by Cathy Berberian [...] an out and out ‘sixth degree’ of the voice, magisterially performed by Scandaletti. Next to the amusing and ironic piece by Marcello Abbado [...] remarmable the compositions of Gilberto Bosco (inspired to the greatly famous Lied Ich grolle nicht by Schumann) and of the same Piacentini, An Mozart, who - thanks to the complicity of the Penderecki Quartet - works on the musical base of two Lied by Mozart, utilizing their melodic materials, but transforming them according to modern contrapuntal codes.” (Elvio Giudici)

From “La Stampa – Torino Sette” – February 12nd 2010: Duo Alterno: if the timid Rosina from “Il Barbiere” jokes to act sexy
“Among the most assiduous promoters of contemporary music there is the Duo Alterno from Turin [...] The two performers becomes to the forth recording of the CD series La voce contemporanea in Italia [The Italian contemporary voice] by Stradivarius label (in the previous three CDs, authors such as Dallapiccola, Petrassi, Berio, Manzoni, Maderna, Nono, Vacchi, Mosso, Colla, Pinelli and others). In this forth CD the Duo Alterno joins, in a page of the same Piacentini, the Penderecki String Quartet: the piece is titled An Mozart [...] where the so-called ‘foto-suoni’ play a decisive role [...] In Lachrimae Piacentini’s voice intervenes with frames in different languages [...] Franco Donatoni is remembered through an ermetic page over the mysteries of the life and the death. Remarkable the Vocalizzo that Marcello Abbado has dedicated to the Duo Alterno [...] the melody is widely de-structured, often reduced to simple vowels, that Tiziana tranformes in a sympathetic erotic page [...] Gilberto Bosco shows off his skill to get deep meaning of the words leaning on a famous Lied by Schumann. Amidst these pages, Tiziana Scandaletti hurls herself in the solo voice ‘Stripsody’ [...] genial [...] linking noises, bubblings, grunts, onomatopoeic words as in the comics.” (Leonardo Osella)

From “Amadeus” – October 2009: La voce contemporanea in Italia, Vol. 4. Artistic score ****, technical score ****
“This is the forth volume of the CD series of the duo formed by the pianist and composer Riccardo Piacentini and the soprano Tiziana Scandaletti dedicated to the contemporary voice [...] repertoire inscribed in the rut of the nobil tradition of Lieder [...] That world is in fact evocated by Mauro Bortolotti’s dyptich in German language Schatten (1995) and Ein Spiel (1995), and also in Gilberto Bosco’s Lied ...im Traume (2007) [...] Same discour about same Piacentini’s An Mozart (2008), that elaborates Mozart Lied materials, extending the organic to five instrumental parts joining Penderecki String Quartet. Marcello Abbado’s Vocalizzo [...] (1997) fingers the world of the lyric opera with a renewed sensuality that makes this page of the best of the CD. Donatoni’s and Bussotti’s compositions, both of 1978, look at the fashinating Seventies: respectively ...ed insieme bussarono [...] and Lachrimae (in the version for voices and piano licensed by the author we can appreciate a theatrical-gestural [Duo Alterno’s] performance on YouTube). At last Cathy Berberian’s Stripsody (1966) [...] very aspired field of comparison for today singers.” (Michele Coralli)

From “Musica e Scuola” – September 15th 2009: La voce contemporanea in Italia, Vol. 4
“On the international stage by several years, the Duo Alterno, composed of two talented specialists, Tiziana Scandaletti (voice) and Riccardo Piacentini (piano), with this forth cd dedicated to contemporary composers [...] presents a different landscape devoted to voice and piano [...] A great approval to the Duo Alterno that with a huge Carthusian work is successful in communicating and leaving through recordings the musical patrimony of our time.” (Michele Gioiosa)

From “Io Donna – Corriere della Sera” – September 12th 2009: La voce contemporanea in Italia, Vol. 4
“The soprano Tiziana Scandaletti and the pianist Riccardo Piacentini, that is Duo Alterno, [...] in this fourth stage face very various pages by Bussotti, Bortolotti, Abbado, Donatoni, Berberian, Bosco and the same Piacentini. They do this with their usual stylistic ductility and interpretative intelligence, revealing also forgotten flavors.” (Enrico Girardi)

From “allmusic” – September 1st 2009: La voce contemporanea in Italia, Vol. 4
“Stradivarius’ series La voce contemporanea in Italia is a comprehensive survey of new vocal music from Italy [...] The artist on all volumes of the series, of which this is the fourth, is Duo Alterno [...] Scandaletti is a very gifted ‘new music soprano’ [...] especially well-versed in avant-garde techniques; more like Cathy Berberian, Jan De Gaetani, Esperanza Abad and other new music sopranos of a bigone generation. Piacentini appears to be as expert inside the piano and in handling external sound sources as he is at the keyboard. On the Riccardo Piacentini work, An Mozart (2008), they are joined by the Penderecki String Quartet [...] a very strong program that seems to have the legacy of opera at its heart [...] Sylvano Bussotti’s Lachrimae [...] comes off like a twelve-tone vampire intermezzo, with wicked laughter and a high sense of campy drama. Macello Abbado [...] is represented by Vocalizzo sopra ‘Ma se mi toccano dov’è il mio debole’ dal Barbiere di Siviglia (1997); the familiar Rossini aria is transformed into erotic moaning with atmospherics courtesy of Piacentini’s dexterous handling of the piano strings. The pièce de reistance, however, is Scandaletti’s solo take on Cathy Berberian’s Stripsody (1966) [...] a tour de force for an operatic soprano looking to stretch out. Scandaletti performs it with considerable enthusiasm and it’s a great deal of fun.” (Uncle Dave Lewis)

From “Il Cittadino” – July 15th 2009: The contemporary stage
“Fourth powerful brick of an architecture that, especially in these slim times (‘tempi di magra’), sounds heroic, the last stubborn volume that Stradivarius label dedicates to the contemporary voice in Italy. Really superb in this all Italian ‘restoration’ the Duo Alterno of Riccardo Piacentini and Tiziana Scandaletti, respectively piano and voice of an infinite palette of colors and humours joked in total adherence to the scores and the ensemble. This is a contemporary based on the ancient, on never renegaded univers of the possible order and the lucky word, that is the univers of the liric opera and the dead languages, that emerge as marmoreal busts in a leafy path. An entire compass circle by the time and the space, a personal as universal anthology [...] the highest maestro Bussotti, the scientist Donatoni, the omnivorous Cathy Berberian, the melancholic Gilberto Bosco. One hour of listening that rewinds and clots an handful of feverish years for the national music, at now unreapeatable. Just to seal all, an intense Piacentini, composer bred at Bussotti’s school, with a very personal look ‘An Mozart’.” (Elide Bergamaschi)

From “Musica e dischi” - July 2009
“[...] the beautiful fourth volume La voce contemporanea in Italia: pages by Bussotti, M. Abbado, Donatoni, Bortolotti, Cathy Berberian and Bosco [...]” (Diana Leva)

From “Blow Up” - July 2009
“The soprano Tiziana Scandaletti, with the subsidy of Riccardo Piacentini at the piano and in one case of the Penderecki String Quartet, compiles an anthology of pieces [... where] we find Lachrimae by Bussotti, ...ed insieme bussarono by Donatoni, Stripsody by Cathy Berberian together with works by Bortolotti, Abbado, Bosco and the same Piacentini. Many and different irons in the fire but well burned through an high level performance.” (Piercarlo Poggio)

From the newspaper “Culture” of Moscow – June 18-24th 2009: Magician titivates piano
“In the Rakhmaninov Hall of the Moscow Conservatory we listened to a concert of Italian music from Forties to today […] This concert was very exceptional thanks to the participation of Italian artists, with music of their own homeland in its natural habitat. It could be that Russians love Italy or that there was the opportunity to free the Italian vocal style, the fact is that the hall was completely crowded. This happens infrequently in the Moscow concerts of contemporary music, and among them this is surely one of the best in several years. Singer Tiziana Scandaletti (soprano) and pianist Riccardo Piacentini formed the Duo Alterno in 1997. Since then, they tour the world and record a great number of CDs, including a series dedicated to the new vocal music in Italy. Their repertoire includes works by dozens of composers, many of whom wrote specifically for the Duo Alterno. Scandaletti and Piacentini can hold the public attention throughout the evening, both in academic or gestural-theater manner of performance. But the most successful numbers were the last two where our musicians of Studio for New Music Ensemble together with the guests were involved in a purely Italian Gambling. The vocal cycle Folk Songs by Luciano Berio is performed all over the world and rarely in Russia […] Tiziana Scandaletti and Studio for New Music were in “shocking love at first sight” and people crowned them. Another author also appears in an unusual perspective: Ennio Morricone. Everybody knows his film-music, but in this case we listened to a fragment of his cycle Epitaffi sparsi  and it was beautiful, even without movie. Morricone writes as a professional for the ensemble of contemporary music as well as for his orchestra. In this case he skillfully uses an ensemble of six instruments plus singer, joking on the pitches related to the name BACH and introducing theatrical elements: at the beginning Tiziana appears down the stage, then she goes on the stage, then removes her shoes and climb the piano! Even more striking example of musical theater was Sylvano Bussotti’s Lachrimae, where Riccardo, as a kind of magician, rolls out grand colorful ribbons and hang them on the piano strings. The two artists briefly switched roles too – she sat at the piano keyboard, and he suddenly sang – and then continued dragging ribbons, talking and singing in several languages simultaneously. More close to the tradition, in the spirit of the best songs of Schönberg and Berg, were the vocal works by Goffredo Petrassi [Due liriche di Saffo] and Luigi Dallapiccola [Tre Poemi] […]” (Ilya Ovchinnikov)

From “corrierebit.com” – June 12th 2009: Vocal pieces of contemporary musicians for Stradivarius
“[...] Leading actors of this interesting work the Duo Alterno and, in one of the eight pieces presented, the Penderecki String Quartet too. The Duo, internationally acclaimed, is formed by the soprano Tiziana Scandaletti and the pianist-composer Riccardo Piacentini. In the cd La voce contemporanea in Italia [The Italian Contemporary Voice] - vol. 4 we can listen to pieces composed between 1966 and 2008 from Bussotti, Bortolotti, Abbado, Donatoni, Berberian, Bosco and the same Piacentini. The female voice has always a central role in all the compositions. The “historic’ pieces by Bussotti and Donatoni, Lachrimae and ...ed insieme bussarono, are both of 1978 [...] a strong gestural and theatrical component is highlighted in the first one and a need of structural freedom, well defined from the first timbric beginnings of the female voice, in the second one. This need of expressive thatricality is even more evident in the solo voice piece Stripsody of 1966 [...] by the great Cathy Berberian. Excellent interpretation of Scandaletti. [...] Vocalizzo sopra ‘Ma se mi toccano dov’è il mio debole’ from Rossini’s Barbiere by Marcello Abbado, composed for the Duo Alterno, is a nice example of musical divertissement written in 1997, that is a joke on the infinite possibilities of the vocal timbric variations. ...im Traume, piece of 2007 by Gilberto Bosco, also dedicated to the Duo, has the text in German language: it starts from Schumann to arrive to a passionate transformation in modern way [...] An Mozart, written by Piacentini in 2008, joins the voice and the piano to a string quartet and presents musical qualities where the influences of the German tradition of the first 20th century are mixed, in the final, to a musical past easy to recognize. The search on the text is mediated by a visionary language rich of suggestive images. A very well interpretated cd that we recommend to all lovers of the voice.”

From “ESZ News” – June 2009: A postmodern night
“[...] ...im Traume for voice and piano on Heine’s text, interpretated by the Duo Alterno [...], is in the miscellaneous CD La voce contemporanea in Italia [The Italian Contemporary Voice] - vol. 4 (Stradivarius 33833), a «beautiful anthology [...] a wide landscape that honours the 20th century Italian Art» (Claudio Strinati on la Repubblica) with which Bosco comes in the important series of contemporary composers presented from the two artists, «spokespersons of absolut reference for sensibility and competence and of laudable coherence in choising the repertoire and the interpretation» (Claudio Bolzan su Hortus Musicus).”

From “Tandem” (Toronto, Canada) – April 5th 2009: Music meets technology. Event celebrates visionaries Galileo and Marconi
“The Bata Shoe Museum and the Italian Cultural Institute invite the public to a free concert [...] by Duo Alterno [...] returning to Toronto after a previous successful concert last year at the Music Gallery. The Duo proposes a dialogue between technology and music through time and it unites situations of the past with the present: an important 400 year anniversay – the invention of the telescope by Galileo Galilei in 1609; another important centenary – the Nobel Prize in Physics for Guglielmo Marconi and his research on ‘wireless’ communication, in 1909; today’s photomusic by Riccardo Piacentini – 2009 – which could be interpreted as a metaphor both of Galileo’s telescope (music which virtually infitely enlarges the acoustic particles of the musical landscape) and Marconi’s wireless telegraph (music that ‘communicates without wire’, from one continent to another, from one context to another, transporting the ‘waves’ of photo-sounds to different places and cultures) [...] The program is accompanied by screenings of images [...] that refer to Marconi and Galileo.”

From “The Globe and Mail” (Toronto, Canada) – April 3rd 2009: From the telescope to the telegraph to photomusic
“The inventive Duo Alterno presents a multimedia concert dedicated to Galileo and Marconi [...] Bata Shoe Museum [...]”

From “Neue Wesfälische Zeitung” (Bielefeld, Germany) – March 11th 2009: Inspired Italian
“Inspire. Expire. Make vibrating your vocal cords. It is a common practice. But in the Italian evening at the Süsterkirche this happened even more perfect. The Duo Alterno presented an exacting program of XXth century popular compositions. The two musicians from Tori proposed just Italian composers and their own compositions too. Remarkable since the first note the full voice of Scandaletti. Also without any amplification it was able to fill all the church. The piano accompainment was very controlled to perfectly highlight the voice. The Duo Alterno [...] was professional and gallant [“professionel und galant”]. Riccardo Piacentini explained the single points of the program. Scandaletti was very concentrated and, together, they created an atmosphere of great partnership. Soprano gave proof of an extrahordinary vocal technique. She sang, among other works, Ghedini’s Four Songs on Ancient Neapolitan with inimitable security as well as with much flexibility in high passages. Considering such a vocal art [“Sagenkunst”] it is not strange that Duo Alterno’s repertoire includes many pieces expressly written for them.” (Alexandra Limont)

From the Letter of Thanks by the President of the Shenyang Music Conservatory, M.o Liu Hui – December 28th 2008
“Dear Duo Alterno, [...] you’ve taken the most beautiful Italian music and the perfect technique to us, and this kind of activities will definitely further strengthen our understanding about Italian music culture [...]” (Liu Hui)

From “Il Globo” (Melbourne, Australia) – October 22nd 2008: Duo Alterno: two fascinating voices
“[...] at the Melbourne Federation Hall [...] the fascinating voice of Tiziana Scandaletti weaved a magic atmosphere substeined by the music at athe piano of Riccardo Piacentini. The texts of the popular songs acquired a clear and cristallyne sound quality that enchanted people. Sometimes dramatic, sometimes passional or very sweet, like in the encore, the Lullaby by Alfredo Casella, the pieces revealed themselves in their beauty [,,,]” (Gabriella G. Hubbard)

From “La Stampa” – September 29th 2008: Scandaletti-Piacentini, a couple between Dallapiccola and Morricone
“Among the most worthy of approvals musicians by Turin, among those ones that promotes the contemporary repertoire, there are Tiziana Scandaletti and Riccardo Piacentini [...] Joint in the life through marriage, they are joint also artisticly with the name Duo Alterno, and together they became well known all over the world as refined interpreters. They signed also some suggetive ‘sonorizzazioni’, such as for the 8th and 9th International Biennial of Photography in Turin, the Train Museum in Bussoleno, the mines in Traversella, the Royal Castle in Venaria. MiTo Festival has invited them to perform [... with] a series of pages that are converged into their CDs dedicated to composers of today [...] A pleasant tracking shot through 20th century music” (L. O.)

From “Musica e Scuola” – July-August 2008: Flash from Toronto
“[...] the 3rd edition of ‘SoundaXis Festival 2008’ has happened in Toronto with conferences, symposiums, screenings and concerts dedicated to the new music. A wide space was devoted also to Italy with three concerts, two of which dedicated to Giacinto Scelsi [...] ed the third one, titled Intra/Introspections: Piacentini & Gentile, just dedicated to the composer from Turin Riccardo Piacentini and the woman composer from Rome Ada Gentile. By Piacentini were performed two works: For four for string quartet and, in world premiere, An Mozart for voice[, piano] and string quartet. [...] The excellent interpreters of this third concert were the Duo Alterno [...] and the Penderecki String Quartet [...] The appreciation of the thick public was optimum [...]” (M&S)

From “Show Time Magazine” (Toronto, Canada) – June 8th 2008: Intra/Introspections reviewed by Stanley Fefferman
“On a hot summer night, a concert of ‘new’ music with a breeze of mischief and humour blowing through it is cool news. We begin with pair of offerings for voice and piano by John Cage. Formally mocking form, composer/pianist Riccardo Piacentini and soprano Tiziana Scandaletti first adorn the silence with gestures and then perform strongly around a text of “Finnegan’s Wake” by James Joyce. The Penderecki String Quartet brought their exciting intensity to an important work by Riccardo Piacentini, his For Four (Part IV) for String Quartet (1994). The piece is a texture of horizontal and vertical elements, highly coloured and strongly contrasted in their details, as if irreconcilable differences were searching for agreeable combinations. Thus the music mixes pizzicato with discordant unison drone bowings, relaxed tempi churning into states of alarm, powerfully intense passages that dissolve into squeaking, gibbering, ghostly tones that fade away. One feels somehow involved in a personal confession and struggle against restraint, a journey towards unfetteredness. [...] Gentile’s La giornata di Betty Boop for voice and piano (2006) in five sections, has Piacentini at the piano wearing a tail, a dog collar and leash while Scandaletti outfitted like the cartoon character prances and sings to ‘Boby’ her doggie six funny texts by Sandra Cappelleto [sic], leaving the audience in high spirits.” [Stanley Fefferman]

From “Libertà” – May 26th 2008: A 20th century of fables and songs. The Duo Alterno closed with success the Bibiena Art Festival
“Fables, ballads and songs [...] gave us an intense trip through the chamber repertoire of the first and second 20th century, discovering those authors that were mostly fashinated by the popular melody: Leone Sinigaglia, Alfredo Casella, Franco Alfano, Giorgio Federico Ghedini and, at the end, Luciano Berio [...] Performer, as well as inventor of this original and captivating program [...] the Duo Alterno, sturdy chamber ensemble born in 1997 thanks to the union of the soprano Tiziana Scandaletti and the pianist and composer Riccardo Piacentini, both professor at the conservatory [...] Encouraged by the success of their frequent tours in Italy and abroad, the two artists also proposed pieces expressly compoded for the duo, such as Due canti brevi [Two brief songs] of the American composer Curt Cacioppo, that was present for the Italian première of his work [...] Worthy example of modern ‘Lied’, Cacioppo’s piece takes form as a long sequence of broken phrases, strongly and painfully intense in the expression. Of remarkable interest is also the piano piece written and interpretated by Piacentini as a pleasant interlude, just instrumental, between the vocal performances: freely inspired, as the same title Venexiàn suggests, to a popular Venetian melody, this Piacentini’s composition explores the last frontiers of the della piano colors, putting objects on the strings of the instrument so as obtaining sounds close to the metallic vibrations of an harpsichord. The soprano Scandaletti, ductile voice, sharp and agile, particularly suited to a chamber repertoire, immediately captured the public, chiselling with refinement and partecipation four songs from the Vecchie canzoni popolari del Piemonte [Ancient popular songs from Piedmont] elaborated and arranged by Sinigaglia. Then, at the end of the vibrant interpretation of Cacioppo’s Canti brevi, the duo performed Ghedini’s Quattro canti su antichi testi napoletani [Four songs on ancient Neapolitan texts], where the composer, brought the melody at the highest point of the dramatic intensity, melts it in suspended phrases, evoking dreamlike and restless atmospheres. From Alfano, instead, the duo performed the song Mamma il giovane principe [Mum, the young prince] (1919), one of the first exemples of the intense work in composition, flowed two years after in the opera La leggenda di Sakuntala [Sakuntala’s legend], on Tagore’s poetic textes. As completion of the brilliant performance, Piacentini and Scandaletti interpretated the Quattro canzoni popolari di Berio [Four popular songs] (embryonal idea of the more famous Folk Songs), work that, in the past, they were honoured to play just in presence of the composer [...]” (Alessandra Gregori)

From “Amazon.com – Personne’s review” – March 27th 2008: More than you asked for
“It’s always nice to get more than you asked for. In my case, I ordered this CD for the performance of Dallapiccola’s Tre Poemi. I was nicely rewarded in that regard, but was also delighted with performances of Nono, Petrassi and more. Duo Alterno is comprised of soprano Tiziana Scandaletti and pianist Riccardo Piacentini (who also contributes one of the pieces on the CD) [...] She’s a first-rate soprano, with a timbre that at times reminds me of the much-missed Jan de Gaetani. And (this is very high praise in my book) she has guts. Not content to sit back and make pretty sound, she explores her range and expressive capabilities in significant ways. He’s also a fine accompanist, knowing when to challenge and when to support. [...] Nono is fabulous, quiet and withdrawn. The piece by Piacentini deserves special note: it’s an electronic piece, calling on some extendend techniques from the soprano. It’s deftly done. Duo Alterno is a very good pair of musicians, and are convincing advocates for some worthy music. [...] Fine CD.” (Personne)

From “Hallandsposten-Sweden” – March 4th 2008: Entertaining Italian duo [...] Works of Morricone, Berio, Corghi and Piacentini
“Modern tones wrapped in several layers of humour started the springseason in Kulturverket [Halmstad, Sweden]. It was last Sunday that Duo Alterno from Torino in Italy, consisting of the soprano Tiziana Scandaletti and pianist Riccardo Piacentini, alternately challenged and entertained with mostly italian music from 1900 and forward. To be able to really fascinate and engage this kind of music demands a lot from the executors. In this case not only the musicians great technical ability convinced but also the richness of variation in expression permeated both vocal- and pianoefforts. No detail in the demanding pianoparts escaped Piacentini’s sensitive fingers and no mood or intonation was foreign to Scandaletti which she with her expressive soprano explored and exposed. Fine presentations and crazy humorous ideas (whims) also helped to lift the entirety. Names like Luciano Berio, Ennio Morricone, Azio Corghi and Ada Gentile were in the programme. Morricone who is known to most of us for original and creative filmmusic has also composed traditional music. During his nervy humorous Epitaffi the singer took place halflying on the grandpiano, as if the aim was to sell a used car. Were it not for these acrobatic escapades the grandpiano could have been open as the risk of drowning Scandaletti’s powerful and strong voice was non-existant. We also heard an example of Piacentini as composer where a taped American song of crickets was a foundation to his own pianomusic. When he to the audience’s great delight imitated a dog while playing was only one of many examples of the duo’s incomparable rampage. Summarizing all, the concert was varied, entertaining, challenging, and perfect in time. Praise also for the genial ending with a shockingly tonal folksong from their region.” (Per Björk)

From “Wolfsburger Nachrichten” – February 2nd 2008: Shouting of happiness. Tiziana Scandaletti sings sentiments. The Italian Duo Alterno performs German poets from Goethe to Rilke at Wolfsburg Castle
“The Alterno with soprano Tiziana Scandaletti and pianist [...] Riccardo Piacentini kidnapped one hundred fifty people joined at Gartensaal of Wosfsburg Castle into the world of sounds of 20th and 21th century. The Italian Cultural Institute could book the two artists, requested all over the world, for this invitation evening. The Duo presented a choice of Lieder on texts of famous German poets, realized in music by Italian contemporary composers. So through relations of friendship the ‘New Lieder from Italy’ were born. The start was with ‘Hölderlin-Lieder – Linien’ by Alessandro Solbiati. Then ‘... im Traume’ (Heinrich Heine) by Gilberto Bosco and ‘Due liriche da Rainer Maria Rilke’ in the musical translation of Alberto Colla. The artists were animated by a thrilling fervour. Tiziana Scaldaletti gave jform to the poetic language clearly and intelligiblely and realized the different atmospheres and sentiments of these Lieder with a vocal emission (“Stimmgebung”) characterized by manifold and changing colours. She master with experience the various ranges of the voice, developes the sound in the high region (“in grosser Höhe”) with power and brilliance. Shouting of happiness expand or gush in a sonorous reciting voice in the low region (“in der Tiefe”). She fills the huge intervals with intense expressive energy and with tension; soft and elegant, instead, the colorations fit to the melodic situations. Often a single word is interpretated in an expressive manner. The singer is inspired and give form to the contents with and intensity rich of nuances, like in a kind of talk with herself. Moments of great emotional implication derive from this. The pianist listen to the sing both as partner and performer. The agreement between the two artists is made by a subtle tuning, contained inside the piano part, rich of changes and colours, continuous source of stimulus for the singer, acoustic base that substains and eviscerates all the expressed sentiments. Piacentini played some his composition with partially prepared piano. Lieder of Fabio Vacchi, ‘Mignonlied Sehnsucht’ by Goethe, and the ‘Opheliafragmente’ of Luca Lombardi by Heiner Müller were the content of the second part of the evening, that ended with a popular song from Piedmont and a modern lullaby.” (Angelika Kannenberg)

From  “Musica e scuola” – January 15th 2008: The Italian contemporary voice. Cuneo, December 14th 2007, one day of studies and music (two atelier-concerts)
“[...] the composers Alberto Colla, Ada Gentile, Riccardo Piacentini and Alessandro Solbiati, with their considerale curriculum vitae, took part [to the meeting] coordinated by the musicologist Sandro Cappelletto [...] The confirmation how much the voice is alive and vital, how much it is possible, also today, to write Lieder and at the same time hyronic and biting pages, was in the evening, with the nice concert kept, as conlusion of the meeting, by the Duo Alterno [...] The concert was opened by Solbiati’s Die Linien (second of the Hölderlin Lieder composed in 2000 with dedication to the Duo Alterno). Another time we could appreciate Tiziana Scandaletti’s meticulous care in phrasing, the clear pitches, the attention in making palpable the recondite meanings of each fragment; besides this people could admire the perfect melting of the ensemble, thanks to the exquisite qualities of ‘accompanist’ of the composer and pianist Piacentini. These peculiar strokes were present also in the performance of Due liriche da Rilke (2005) by Colla, samely dedicated to the Duo Alterno, suche as in the performance of a brief collection of pages by Corghi. Then Piacentini set down alone at the piano, leaving a bit to the voice, and performed Jazz motetus VI (Cricket play) that he same composed in 2003, for piano and tape: captivating and fashinating page, with its polychromatic variety. At the end of the evening the nice and difficult lyrics by Casella under the title Adieu à la vie, written in 1914 but impressively modern, well realized by the warm voice of Tiziana Scandaletti. Last La giornata di Betty Boop by Ada Gentile (2005), page full of effects, somewhere dramaturgic, somewhere dreamlike, somewhere exhilarating, true and concise comical sketches (dedicated to the Duo Alterno e and maybe not unmindful of the unforgettable Cathy Berberian) with mix of languages and dialects, and an agreable combination of various vocal emissions: from the simple ‘parlato’ to the pure lyricism and much other more. The irony seems the main attitude [...] a very amusing joke [...] Really irrestible. Plitenessly realized by the protean voice of Scandaletti to whome interweaved also that one of the multi-performer Piacentini, ‘forced’ to perform with an explicitly gestural attitudes because of needs of... copycat [...]” (Attilio Piovano)

From “La Stampa” – January 6th 2008: Italian music for singing German poets
“A strong idea feeds the third CD that the Duo Alterno from Torino - Tiziana Scandaletti and Riccardo Piacentini [...] - dedicate to the ‘Italian contemporary voice’. The first one privileged the relation among poets and musicians in the XXth century, the second one the relations of the the art music with the popular tradition; the last one has as leading actors German poets and Italian composers. The poetries by Goethe, Heine, Rilke, Müller inspire the fantasy of masters such as Aldo Clementi and Giacomo Manzoni, successful artists like Luca Lombardi, Alessandro Solbiati, Fabio Vacchi, Alberto Colla. Se un giorno tu by Heine is the last work of the disappeared Carlo Pinelli. The different sensibilities are well picked by the interpreters, appreciated specialists in music chamber lyric. Vacchi confers to Goethe’s Mignon an disquiet sensuality, Lombardi perfectly snatches the violence of Ophelia and Electra rewritten by Müller and invents a passionated piano part. Clementi frezees Rilke, Colla ignites him (and Scandaletti enkindles him) [...]” (Sandro Cappelletto)

From “il Venerdì di Repubblica” – November 30th 2007: The duo that gives voice (and piano) to the Italian XXth century
“[...] The three recent cds titled La voce contemporanea in Italia [The Italian contemporary voice] represent a beautiful anthology of many tendences retraceable in the XXth century and give a very precise idea of some our maximum composers. The first cd is historicly remarkable. It includes pieces by great and ‘grandissimi’ composers. A true discovery is Tre canti di primavera [Three Spring Songs] by Giacinto Scelsi [...] so sweet and animated from a dimension of celestial and ecstatic harmony [...] Masterworks of the following decade are Due liriche di Saffo [Two Saffo Lyrics] [...] by Goffredo Petrassi. Two marvellous songs in which the idea of a di una classical style that prescinds by the commonplace of the harmonic solution of any disagreement is formulated in a perspective that makes overlapping what is far and what is near [...] And also Dallapiccola’s Tre poemi [Three Poems] are wonderful [...] free and structured at the same time, the dreamy Liriche written in 1951 by Domenico Guaccero [...] the strong pieces, written in the first Sixties, by Azio Corghi and Luigi Nono. By this one Mrs. Scandaletti perform Finale for solo voice from La fabbrica illuminata [The illuminate factory] in an acrobatic lightening of archaic trillings. And very interesting is Piacentini’s piece on texts of Sandro Cappelletto, 2001, a kind of post-modern evocation of an hypothetical and humorous futurism. Important the other two cds too, where some cospicuouses things appear by Maderna, Morricone, Berio, Sciarrino, Clementi, Manzoni, Vacchi and others, in a musical landscape that does honor to the Italian art of XXth century.” (Claudio Strinati)

From “Biblio-net Musica Classica” – October 15th 2007
“[...] two very lucky series: Dulcimer, dedicated to the ancient music and Times future, dedicated to the contemporary music. For the last one, the Duo Alterno proposes the third volume of a journey intended to investigate the most interesting tendences of the the new Lieds in italy. The chosen approach is very functional, presenting various themes and relative composers that are clearly connected [...] now it is time of those composers that recuperate the German tradition [...] It concerns compositions that generally are characterized by a pretty intimate dimension, the brief duration of which (with the exception of the two pieces by Luca Lombardi titled Ophelia-Fragmente) makes closer the form of this ‘Lieder’ to the dimension typical of the aphorism. But this does not have to mislead, since, as the Duo writes in the beautiful booklet attached, more the piece is short, essential, and more it is important to work on the detail [...] it is a unic musical trip, that reveals, especially to the fans of music not particularly attracted by the contemporary artistic tendences, very particular musical atmospheres, made even more unic through the skillness of a Duo that is one of the most acclamed and active in this field. With Tiziana Scandaletti’s charming, warm and theatrical (if it needs) voice, always perfectly calibrated on the phonetics of the German language, the presence of the clever Riccardo Piacentini is constantly in agreement, never invasive and even better sympathetic with the musical conversation thanks to a particular care and concentration on the sound that sometimes becomes crystalline, almost impalpable in the moments of more intimate concentration, but capable of great energy and technical determination in the not rare moments in which the piano stops the simple accompainment and becomes the protagonist [...] To the presentation of the CD is dedicated the same care that is used for the autors and their wroks and it is made even more precious by the brief but significative interviews of Paolo Petazzi, musicologist among the most attentive [...] An interesting and fascinating discovery, that we suggest also to get used in a genre that is surely not easy but that finds in this beautiful product a moment of captivating beginning.” (Gabriele Formenti)

From “Musica e Scuola” – September 15th 2007
“The Duo Alterno with this third CD voted to the Italian contemporary music con questo terzo CD dedicato alla musica contemporanea italiana earns a great applause [...] Due Poesie [Two Poetries] by Aldo Clementi, Due Liriche [Two Lyrichs] by Alberto Colla, Ophelia-Fragmente [Ophelia-Frames] by Luca Lombardi, Du Dunkelheit by Giacomo Manzoni, Se un giorno tu [If one day you] by Carlo Pinelli, Holderlin Lieder by Alessandro Solbiati, Mignon by Fabio Vacchi, will remain in the memory just because realized by the ‘bravissimi’ musicians that are able to make agreable listening to so arduous pages. Tiziana Scandaletti and Riccardo Piacentini, almost successful all over the world, are clever at bringing contemporary music with simplicity but above all musically and professionally. Excellent recording.” (Michele Gioiosa)

From il Giornale della Musica – September 2007: Voice and piano of today
“Third volume of a CD series that investigates non only the range of the vocal writing in Italy in the main composers of the second XXth century, but mostly its marriage with the piano (renovate, reconceived marriage, though always tied with the German Lieder tradition or with the precious manifacture of some French chansons francesi between XIXth and XXth centuries), this CD explores just this last aspect, through a poetic anthologythat is almost all in German language. It is surprising – though they are two ‘iuvenilia’ – the maturity with which Clementi takes and reformulates expressionist and dodecaphonic peculiarities in the first one of Due poesie [Two poetries ...] the harmonic skill of Colla seduces; the power of the expressive gesture of Lombardi shakes [...] the articulated but clean plot of the the first Hölderlin Lieder of Solbiati captures; the kaleidoscope in which the refined texture of Vacchi’s Mignon charms. The various gems of this recording, after those ones included in the other volumes (the first, around Italian poets of the XXth century; the second, crossing the regions of the popular song, gestures and contaminations) would not appear such as this without the cleverness and passion of the performers, often dedicatee of many pieces, and living examples of the vitality and valorizzabilità of a new vocal repertoire with piano: Scandaletti valorizes a medium range particularly warm, and Piacentini an immersion and total mastery in the articulated dialogue with the voice.” (Alessandro Mastropietro)

From an official letter of the Secretary of Pontificium Consilium de Cultura, Padre Bernard Ardura – May 18th 2007
“[... The CD La voce contemporanea in Italia - vol. III is the] lucky crown of the trypthic devoted to the XXth century’s vocal music by the Duo Alterno. One listens to the work without distractions, concentrated in catching the most thin nuances. In each interpretation the text lights the music with quick sparkling, so that the listener is induced to penetrate into the preciosity of minimun details, enriched by a constant care about the ‘breath of the voice’ [...]” (Bernard Ardura)

From “Musica e Scuola” – May 2007: [...] an announced success
“[...] Title: Pagine cantate. Cross-fade tra letteratura e musica del Novecento [Sung pages. Cross-fade between Literature and XXth Century’s Music]. Performers: the cellist from New York Madeleine Shapiro in trio with the very harmonious [“affiatatissimo”] Duo Alterno, accompained by Oliviero Corbetta’s readings wtih background of Daniela Vassallo’s suggestive photographic projections. The program, very appreciated by a visiblely amused audience, was focused on some of the principal XXth Century’s Italian autors (both for music and texts), from Scelsi-Aleramo to Petrassi-Quasimodo, from Nono-Pavese to Corghi-Bertolucci-Ungaretti, to Guaccero-Montale, to Panni e Gentile-Cappelletto, with a very interesting “raid” into the American contemporary repertoire (Earle Brown’s Special events), of which Madeleine Shapiro is excellent performer. Particularly Ada Gentile’s piece (La giornata di Betty Boop [Betty Boop’s daytime], dedicated to the Duo Alterno on the humorous texts by Sandro Cappelletto, requested a remarkable cleverness in vocal and scenic gestures, realized with great charm by the soprano Tiziana Scandaletti [...] In short, a musical performance of high impact and level, based on the interactions of the worlds of music, literature and images.” (Mario Gioiosa)

From written declaration of the General Italian Consul in Houston, April 19th 2007
“[...] The Duo Alterno [...] got a remarkable success of audience and excited general interest [...] through its technical and interpretative skill and originality.” (Cristiano Maggipinto)

From written declaration of the Chair of Department of Music in Portland State University, January 30th 2007
“[...] Your concert was sensational. Everyone I talked to afterwartd said that they enjoyed the range of music performed as well as the artistic mastery you both displayed. Your musicianship and expressive range were very inspiring to both students and faculty as well. Thank you so much for coming to our city and enriching our cultuarl life by sharig your own. You have made many new freinds and fans in Portland.” (Bryan Johanson)

From  “Rinascita” – Ottobre 31th 2006
[...] Festival “Nuovi Spazi Musicali” celebrated with large and amused audience
“[...] full house even for standing places [...] The opening of the performance was with two pieces for voice and piano by ‘Frauenliebe und Leben’, texts by Adalbert von Chamisso and music by Robert Schumann, ‘fil rouge’ of the programmation in hommage to 150 years from Schumann’s death. Soprano a ductile Tiziana Scandaletti in this in this chamber work performed with such a gracefulness. Scandaletti with the pianist Riccardo Piacentini in 1997 gave life to the Duo Alterno [...] many well known composers wrote for them and their partecipations to international festivals are really numerous. The program [... was] among whistle sounds and playful notes, governing through a leash the little dog (pianist) wagging tail and adoring. Music gets shape, becomes an onomatopoeic barking, then a strange solfeggio and frames from Mozart [...] with delicious lulling charme [...] a futuristic canvas with pieces like Amado mio, Toreador, Besame mucho, while delirious words and also crumbled, crashed, assonantic, homophonic, chosen for resonating in the air, are mixed together American songs and stretch out the end with classical vocalisms. Many applause from the people [...] Closing the performance, piano and cello [Madeleine Shapiro from New York] recount together with the singer (here reciting voice) some moments of the life of San Francesco. A little mystic shiver, gentle and solemn [...]” (F. A.)

From “Corriere della Sera” – July 9th 2006: Scandaletti e Piacentini, direct line with the composers of 20th century
“Duo Alterno, that is the voice of Tiziana Scandaletti and the piano of Riccardo Piacentini, is an ensemble which exists since ten years and devotes itself to a tireless work of apostleship in the music of 20th century, mostly Italian. The Duo realized four CDs, dedicated to personalities such as Maderna, Ghedini and Casella, and now it adds other two anthological CDs. So now the two harmonious artists record works by Nono and Petrassi, Corghi and Sciarrino, Morricone and Berio and many others with the clear purpose to show not only the various technics in writing music, but also the manifold cultural and expressive horizons of the ‘patrol’ of composers that have made the history of the vocal music in the last one-hundred years. To their merit is to add the philological trustworthiness that comes from the scrupulous search and study through which they perform the scores and from having a continuous direct line with the same composers, really happy to give to Duo Alterno their new creations.” (Enrico Girardi)

From “Studi piemontesi” – June 2006
“Hyperactive on the side of performing [...] the Duo Alterno from Torino [...] goes on also in recording CDs and giving in large amounts its energies and engagements to promote the music of 20th century and today [... now] two important CDs dedicated to «The Italian contemporary voice» for Stradivarius [...] We liked much the first one (2005), with music by Corghi, Dallapiccola, Guaccero, Nono, Petrassi, the same Piacentini and Scelsi. In this CD we appreciated - in respect to the soprano Tiziana Scandaletti - the meticulous treatment in phrasing, the clear intonation of the pitches, the carefullness in doing tangible the hide meanings of each fragment, as well as the perfect fusion of the ensemble, thanks to the exquisite qualities of ‘accompanist’ of the the composer and pianist Piacentini. Now - Spring 2006 - come out «The Italian contemporary voice - vol. 2»; going through titles and names [...] two beautiful «Twelve Songs from Piedmont» (1968/70) by Carlo Mosso [...] that Scandaletti interprets with spicy irony [...] the «Four Popular Songs» by Berio [... with the] vocal line greatly impressing [...] In «Avendo gran disio» [...] the piano range - gracefully realized and with such timbric finesse by Piacentini - jokes on a modal setting made modern through rhythmic wits scattered with great intelligence. Really agreeable also the «Ballo» on a text by Sicily, an authentic tour de force for voice and piano, like a tongue twister full of acuminate and delirious rhythmic figures that make the page so irresistible (excellent the vocal interpretation and admirable the piano virtuosity). The fine CD starts indeed with a full bodied collection from the «Epitaffi sparsi» by Morricone (1992/93), bristly and humorous pages that request a not common vocal flexibility. Scandaletti second very well their stimmung declining her voice now with decision and emphasized accents («Epitaffio degli epitaffi»), now becoming painful and nearly imperceptible in the mysterious, worrying «Tu che passando osservi». These are pages [...] full of timbric fascination and reach of inventiveness [...] musically performed with great charme and effectiveness by the excellent Duo Alterno. Irresistible the epitaph «Per anni studiò da pianista» all done on the ironic caricature of the piano study made acidulous from a double-tonality, like a crooked and cubist pseudo-Clementi. All to admire. Other scenery for the «Two Songs on Verlaine» by Maderna (1946/47) [...] with their nice allusions to the habanera rhytm, their rearings in the high positions got with sureness and decision. More than one simple mention we have to deserve to the «Little funny scenes» by Ada Gentile (2005) or «Betty Boop’s daytime», reach of effects that are now dramatical, now unreal and fantastic, really concise comic scenes (dedicated to the Duo Alterno and maybe not oblivious of the unforgettable Cathy Berberian) with linguistic and dialectal mixtures, and with a pleasant mix of various vocal emissions: from a simple speech to the pure lyricism and much other more. [...] And the collection is a true very amusing joke. It includes also quotations for instance from the little Papageno’s song in the Mozart’s «Flute» [...] Really compelling. Elegantly performed by the protean voice of Scandaletti to whome the multi-performer Piacentini interwines his plot. The texts, so nicely fluent, are by Sandro Cappelletto. The CD ends with a arduous and hypnotic page of Sciarrino («Ultime rose» da «Vanitas») shared by the cellist Madeleine Shapiro [...] a really precious, enjoyable and rare CD.” (Attilio Piovano)

From “Specchio” - “La Stampa” – May 16th 2006
“Tiziana Scandaletti and Riccardo Piacentini (voice and piano), since First 20th Century to today, recount the vitality of the scripture for the voice by our composers. And they know perfectly what «theatre of sound» means” (Sandro Cappelletto)

From “L’Eco di Bergamo” – 24th March 2006: The «Duo» alternates tradition and modernity
“Magic mix between popular ancient tradition and cultured contemporary music [...] Pratically known at every latitude specially for the courageus dedication to the rediscovery and valorization of the Italian vocal repertoire in 19th Century as well as in contemporary music, the clever ensemble was able to lead a docile public inside the meanders of a program fomed by so rare and unquestionably interesting pages [...] With great concord and dramatic verve the Duo Alterno coped well with the Alfredo Casella’s “Favole romanesche” op. 38 [...] the caustic Ennio Morricone’s “Epitaffi sparsi” [...] the intensive Giorgio Federico Ghedini’s “Quattro canti su antichi testi napoletani” till the “Quattro canzoni popolari” of Ghedini’s pupil Berio. Nice parenthesis also “Madrileño”, warm piano piece by the same Piacentini, and the sweet and dreamlike “Ninnananna” by Pieralberto Cattaneo from Bergamo first time performed. If Piacentini impressed for his exquisite timbrical research, Scandaletti was brilliant performer with her flexible voice [...] really soft in climbing expressively the rich timbrical and tonal range [...]” (Filippo Manini)

From “Hortus Musicus” – October-December 2005
“[... in the CD “The Italian contemporary voice - vol. I] the two perfomers of the Duo Alterno goes on their fundamental exploration of the vocality in 20th century through this very interesting selection of chamber lyrics con signed by some leading composer of the Italian avant garde: Corghi, Dallapiccola, Guaccero, Nono, Petrassi, Piacentini and Scelsi, present in the CD with a collection that reveals absolutely aesthetic qualities and variety of languages. It is, substantially, the first volume of a triptych which is entirely dedicated to the Italian contemporary repertoire, «from Dallapiccola and Petrassi upward, not forgetting the last generations and discovering a young and unknown Scelsi as well as an ‘ante litteram’ Guaccero or Corghi»: a project [...] totally indispensable just because of the absence of systhematic initiatives aimed to valorize an entire artistic civilization which found in Scandaletti and Piacentini two ‘spokespersons’ (also on the didactic side) of absolut reference for sensibility and competence and of laudable coherence in choising the repertoire and the interpretation [,,,] So we give an unconditional approval to a musicological laying able to reveal authentic precious jewells till now really little diffused [...] Authoritative the global setting up of the performance, characterized by a great elegance (sometimes with a necessary humour), by an absolut stylistic pertinence and by an inexhaustible energy of both the performers [...] the singer was totally up to the situation also thanks to the colouristic choices, fairly controlled from an extrahordinarily wide palette extended among arcane pearly sonorities (in the wonderful Nono), dense brush strokes (“Remembering you, far” by Corghi) and livid and biting chiaroscuros (“Three Poems” by Dallapiccola), thanks to the wideness of the vocal spectrum (very well valorized from the high level of the recording) and the complete domination of technical means. Similarly efficacious the deep excavation, such as to approach effectively dramatic results (listen to, among the other ones, the Corghi’s  lyric “My hands”, or Guaccero’s “Gained happiness”) and also psicologically adequately defined, always supported by a research in timbre (both vocal and piano) of particular charm and suggestion, research which we think culminates in the performance of the two pieces by Nono and Piacentini, highly more complex and varicoloured in their radical sperimental conception. The CD is accompained with a rich bilingual booklet including a presentation signed by the Duo Alterno, two interviews, the texts of the performed works, an exhaustive profile of the authors.” (Claudio Bolzan)

From “Suono” – September 2005
“The CD “La voce contemporanea in Italia vol. 1” [“The Italian Contemporary Voice vol. 1”] is the first of three CDs of a wider work project intended to a proper triad  on the contemporary vocal repertoire [...] As the same performers intelligently remark, this project gives us a thoughtful journey among the great composers of our chamber lyric, from Dallapiccola to Petrassi an over, not forgetting the last generations and discouvering a young and unknown Scelsi so as an “ante litteram”  Guaccero and Corghi [...] We perfectly agree with the “bravissimi” performers on the necessity to fill the guilty gaps of a chamber vocal repertoire which, in the Italy of singing, has so precious jewels [...]” (Rocco Mancinelli)

From “La Stampa” – 19th May 2005: [...] Saffo’s voice
“[...] The composer and pianist Riccardo Piacentini and the soprano Tiziana Scandaletti [...] keep on their useful rediscovery of the “Italian contemporary voice”. After the homages to Ghedini, Casella and Alfano, now the journey meets authors of the second XXth Century inspired by extrahordinary verses of Aleramo, Bertolucci, Montale, Pavese, Ungaretti, while Goffredo Petrassi yields to Saffo. Voice and piano: a repertoire dotted of masterworks, not finished, always to propose, like the quality of this CD confirms.” (Sandro Cappelletto)

From “Suonare News” – May 2005: Resonant arabesques: Riccardo Piacentini’s Madrileño
“Who considers piano just a keyboard or percussion instrument will have to change his mind performing or listening to Riccardo Paicentini’s “Madrileño”, composer, pianist (in the Duo Alterno with the soprano Tiziana Scandaletti) and essayist from Turin [...] the tonal pedal and the “mute accords” (keys pressed down without sounding) vivify precious resonant arabesques; while who plays has also to produce, directly on the strings, some glissandos. In 1991 Marcella Crudeli performed in Madrid the first version; this one of 2002 is the third and definitive version [...] the central part is pregnant of dramatic virtuosity; on the contrary the extreme parts request a “reverse virtuosity”, because of the particular timbric and dynamic range of an absolute emotional suspension. Score and attached CD present Piacentini in the triple role, not common, of composer, interpreter and performer.” (Antonio Galanti)

From “Ópera Actual” – May 2005
“[...] great and logic [“poderosa y logica”] stylistic coherence [...] The soprano Tiziana Scandaletti offers a solid vocal line which [...] transmits all the sensuality of a extremely personal and expressive language. Riccardo Piacentini follows her lucky interpretation with an impeccable piano accompaniment which, though the evident difficulty, concentrates a great idiomatic difference and variety of registers. The good interpenetration of the two interpreters allows to know extensively a chamber language which sometimes is a bit disconcerting and unforeseeable but always extraordinarily attractive of a composer who deserves to be discovered.” (Vladimir Junyent)

From “la Nuova Sardegna” – 3rd May 2005: The Duo Alterno relaunches [...] the potentialities of the Italian chamber songs
“[...] nice program with songs by Italian XXth century music’s leading characters, such as Alfano, Malipiero and Casella [...] and also Corghi and Berio: program which represents the result of a precious and intelligent research work [...] The Duo Alterno approached the program [...] with great sensibility, elegance and remarkable stylistic propriety [...] perfect diction and wide range of colours and inflexions gave to the interpretation a high artistic level, also thanks to the perfect harmony achieved with the pianist [...]” (Antonio Ligios)

From “Hortus Musicus” – April-June 2005
“After having approached Ghedini’s and Casella’s chamber vocal repertoire, the two interpreters of the Duo Alterno offer in this CD a precious “dowel” to their researches, presenting a sylloge of Alfano’s songs (included two inedited pages) on Tagore’s texts [...] It is beyond doubt that this proposal is of great cultural interest [...] The soprano Tiziana Scandaletti and the pianist Riccardo Piacentini face this unusual repertoire with the well reknown skill and stylistical adhesion: each work is translated focalizing perfeclty the expressive potentiality of the single pieces through a dynamical care which is absolutely praiseworthy (besides a cohesion reached with the same coherence and rigorousness) [...] Piacentini [...] gives a proof of advanced elegance, sensibility and refinement. An artistic result [...] of so high level to do justice to a creative corpus which would deserve much more attentions by studiouses and performers, contributing to make less repetitive and monotonous the concert programs of our seasons [...]” (Claudio Bolzan)

From “l’Opera” – March 2005
“Well reknown for the care and philological seriousness through which since many years it devotes itself to discovering and revalueing our chamber repertoire in XXth Century, the Duo Alterno from Torino proposes a new musical path to reveal a composer which is unfortunately reknown to most people for having completed the last Puccini’s masterwork. After the CDs devoted to Casella and Ghedini, now it is turn of Alfano with the proposal of fourteen chamber songs [...] Everything is made more precious through the proposal of two pieces recorded thanks to recovering inedited manuscripts [...] Describing within few lines such as a complex and sophisticated relation between Alfano’s music and Tagore’s texts is quite impossible [... neverthless] we can say this CD gives us an intimate Alfano, courageous and great never banal experimenter. From the voice, here warmed through the beautiful timbre of Tiziana Scandaletti, the Neapolitan composers demands a clear telling, always pressing [...] So it is not easy duty for the piano closing in upon these tails with the softness of a veil of refined sounds and exotic atmospheres: target perfectly hit by the pianist Riccardo Piacentini [...]” (Enrico Ercole)

From “la Repubblica” – 14th March 2005
The new Italian Lieder proposed from Duo Alterno
“[...] leading character duo, the Duo Alterno, during many years and with deserved success on the stage of contemporary music (and not only) [...] an excellent brotherhood, which is able in reviving and renewing Lieders’  repertoire [...]” (F. F.)

From “Corriere del Teatro” – December 2004
“[...] With great elegance the duo from Turin approches Alfano’s music [...] There is an admirable tymbric refinement [...] in ‘Parlami amor mio’ [Talk me, my love], which Tiziana Scandaletti highlights with a real taste and property of musical accents, or in the stornello “Giorgio per giorno” [Day for day] with its singing in high range and its silvery pianistic carillon realized with remarkable charme by Riccardo Piacentini. A nice CD which gives 50 minuts of intensive emotions thanks to Scandaletti’s flexible voice, careful in making so expressive every secret value of texts, so skilful in changing colours from the dramatic lightings of ‘Mamma il giovane principe’ [Mother, the young prince] to the delicate rarefactions of many other pages, from the effusive passion of ‘T’amo diletto mio’ [I love you, my darling], full of raides in high pitches substainded by a dense pianistic plot, to the traces of melancoly of ‘Sì, lo so’ [Yes, I know]. It is worth remarking Piacentini’s beautiful touch, diaphanous and iridescent when it is needed, but also capable of poderouse sonorities in those moments (they are many) where the instrument is perfectly and expressively symbiotic with the voice. [...] one CD that we warmly recomend to everyone loves the voice in all its proteiform expressions and to everyone likes to explore the endless univers of vocality [...] one CD that presupposes cultur and intelligence [...]” (Attilio Piovano)

From “Suono” – November 2004
“[...] exceptional performers which inspired Giacomo Manzoni and Ennio Morricone among others. Tiziana Scandaletti interprets with such a musicality Alfano’s lyrichs. The voice is soft, unfalling in her own expressive technique. The phrasing is elegant, the interpretation is particularly careful and rich in colour. Riccardo Piacentini accompains singing at the piano respecting the melodic line and underlining every expressive shading. [...] a refined performance that gives us one hour of emotions [...]” (Paola Raschi)

From “©arnet” – November 2004
“[...] Nuova Era label [...] adds to its catalogue of CDs this Alfano’s world premiere, committed to the voice of Tiziana Scandaletti and the piano of Riccardo Piacentini, very smart duo devoted to Italian XXth Century’s repertoire [...]” (Luciana Fusi)

From “Armidale News” – 18th October 2004
“[...] Armidale was treated to a most interesting musical feast from Duo Alterno [...] They began with the beautiful “Mamma, il giovane principe” by Franco Alfano (1919), text by Tagore. It immediately revealed [...] the outstanding musicality of both artists and their excellent rapport. A piano solo – “Madrileno” by Piacentini (1998) was fascinating – the piano’s strings were plucked and stroked to produce delicious harmonies and a meditative mood [...]” (Inge Southcott)

From “Suara Pembaruan” of Jakarta – 7th October 2004: Duo Alterno’s musical Romance
“Duo Alterno in English means ‘alternate pair’ or ‘couple of different elements’.This name fits perfectly to the Duo formed by the pianist Riccardo Piacentini and the soprano Tiziana Scandaletti. The mix of piano and soprano creates something very interesting, especially if you think to works written by Italian composers in 20th Century [...] The high level of maestro Riccardo’s piano performance was harmoniously moulded on the extraordinary voice of Tiziana, which was skill to adapt the expression of her face to each piece she was singing [...] very fashinating Madrileño, composed and performed by the same Riccardo. In this piece inspired to Spain, which he perfomed alone without the voice of Tiziana, maestro was able to make something unic, continuously alternating normal sounds on the keyboard to direct sounds on the strings [...] with “Four popular Songs” the atmosphere became lighter and full of enthusiasm, the sound of Riccardo became more complicate and more dynamic as well as Tiziana’s voice, which sang opening and closing her mouth alternately, with a unic resonant effect.” (ID / U-5)

From “Il Globo” (Italian newspaper of Australia) – 11th October 2004
“[...] maestro Riccardo Piacentini and soprano Tiziana Scandaletti [... are] refined performers of XXth Century and contemporary Italian chamber lyric music [...] The Duo recorded a serie of CDs, among which one dedicated to Franco Alfano and two to Ghedini, and a serie of CDs with original compositions based on enviromental sounds [...] utilizing the beautiful and expressive voice of Tiziana Scandaletti [...]”

From written declaration of the Director of the Italian Cultural Institute in New Delhi – 8th September 2004
“[...] great success of audience and press. The Italian Cultural Institute in New Delhi emphasizes the great professionality and talent which the artists of Duo Alterno [Tiziana Scandaletti and Riccardo Piacentini] showed on the occasion of their Indian tour.” (Patrizia Raveggi)

From “The Hindu” – 7th September 2004: An electric experience
“[...] This recital sponsored by the Madras Musical Association [...] makes me say: “May we hear more concerts like this!”. The soprano Tiziana Scandaletti and the pianist/composer Riccardo Piacentini are quite a pair. Scandaletti’s voice is light, expressive and flexible. She also has a commanding stage presence, delivers meaning, both of text and of music, with her subtle use of physical gesture. She has a remarkable control throughout the vocal spectrum: an impressively commanding sound when power is needed, and a haunting intensity at the lowest possible volume levels. Riccardo Piacentini has a remarkable piano technique; and worked wonders with MMA’s new piano. [...] Four Popular Songs [by Luciano Berio...] ended the programme. The last of these, a Tarantella, was a rousing finish to a very fine programme. Sung in English, a Russian Lullaby by Casella was the Duo’s encore, and turned out to be a sort of lullaby for cabaret singer. Here we got our best chance of the evening to hear how singing quietly with great control can be an electric experience for the listener in the hands of a fine artist.” (Randall Giles)

From “The Time of India” – 5th September 2004: Italians discovers Tagore in music
“[...] the recent Italian concert surprised the Bangalore audience [...] The Italian musicians score for sensitively merging Tagore’s texts with the Italian format of music. It is done so effortlessy that it’s difficult to differentiate when one listens to the music [...]” (Kavitha Srinivasa)

From “Asian Age” – 4th September 2004: From Italy with love
“[...] Music-loving Bangaloreans were in for a wonderful treat on Wednesday evening. A concert [...] saw fine performances by the Italian Duo Alterno – Italian pianist Riccardo Piacentini and soprano Tiziana Scandaletti. Tiziana with her clear voice and lovely apple green ensemble, held everyone’s attention as she and maestro Riccardo took the select audience through collections from the early 20th century to the works of living composers [...]” (R.)

From “Il Gazzettino” – 5th November 2003: Lighting stylistical contrasts
“The third appointment of “Rovigomusica 2003” got a warm welcome [...] [In] Riccardo Piacentini’s “Rayna possentissima” for soprano and orchestra the solo voice of Tiziana Scandaletti interpreted difficult passages with rare ductility and agility [...] Nice effect that one created in the soft instrumental incipit, developed and then played again in the whispered final [...]” (S. T. B.)

From “Il Gazzettino” – 29th October 2003: Contemporary music with prestigious soloists
“The 2003 concert season at Social Theater [in Rovigo] goes on with the contemporary music to characterize a high level performance [...] [In program] the prayer “Rayna possentissima” for soprano and orchestra by Riccardo Piacentini, pianist, teacher and composer world reknown [...]” (S. T. B.)

From “The Record” of Waterloo-Toronto – 27th September 2003: Italian duo offers stunning program of modern works
“[...] on Thursday at Maureen Forrester Hall the Italian composer and pianist Riccardo Piacentini and soprano Tiziana Scandaletti performed a stunning program of works by Piacentini and other notable contemporary Italian composers [...] “Mano mobile clic”, written in 2001 by Piacentini, dramatizes an Internet conversation between a man and a woman who are strangers [...] a highly witty yet sweet work [...] part of a Piacentini opera, “Arie condizionate” [...] Piacentini and Scandaletti came into intimate contact with the audience [...] Rarely does one hear the matching of tone, colour, dynamic and range which this pair has so finely honed. Piacentini’s photo-music, like that of Canadian R. Murray Schafer, creates new aural landscapes [...] his 1999 Musiche dell’aurora (Dawn Music) [...] is a wonderful, peaceful, reverent work [...]” (Colleen Johnston)

From “Studi Piemontesi” – June 2003: Alfredo Casella’s Lyrichs. The new CD by Duo Alterno
“[...] The excellent CD makes possible appreciating in the best manner Casella’s stylistic evolution [...] One hour of music  which you can listened to without pause, seduced by an elegant phrasing, the joke of middle dyes and timbrical reverberations obtained from the two interpreters [...] Scandaletti, encouraged from Riccardo Piacentini’s piano, careful to realize every nuance always without hanging over the melodic line, can take out a variegated and multiform vocality which well suits these music [...] in the exaxcting cycle “L’Adieu à la vie” written in 1915, the real clou-point of this graceful anthology, Scandaletti reveals a rare cleverness in going through different expressions, where Casella’s writing becomes sharp, sometimes livid: her voice gets on the high regions with sureness, but without sourness, and changes itself to softness like velvet in the mid register, while the piano now intervents with sharpness now with far pealing, now with punctuations like thin stalactites, in a phantasmagoric kaleidoscope of imagines. Also very appreciable the idea to insert the “Tre canzoni trecentesche op. 36” [...] The CD concludes with the serie of the coeval “Quattro favole romanesche op. 38” [...] The agreement between the two performers is total in this case too; so you can find a tasty “divertissement”, made precious [...] through a vocal emission where charme and malicious underlinings are mixed with a praticly perfect symbiosis, sylisticly close to the “esprit” of Casella’s music [...]” (Attilio Piovano)

From “l’Opera” – July-August 2003: Alfredo Casella. Lyrichs for soprano and piano
“[...] a very interesting CD [...] a «necklace» of little pearls threaded with intelligence and philological fairness [...] which takes us among the details of the production of a composer that made the continue stylistic search the principal characteristic of his own music. And it is just this forced going across various stylistic stages that makes even more appreciable the malleableness of the two performers of Duo Alterno. Riccardo Piacentini, at the piano, accompanies with a total precision and with chromatic attention which is very rare in the piano accompanists. Tiziana Scandaletti, soprano with an appreciable musicality, performs the different lyrichs with a remarcable interpretative transport [...]” (Enrico Ercole)

From “La Stampa” – 22th June 2003: Piacentini sings to the «Lost trains»
“In Bussoleno at the Feralp train ecomuseum [...] after Mozart, «Treni persi» (Lost trains) is performed for the first time, Riccardo Piacentini’s cantata on texts by Sandro Cappelletto which mixes the troubles of a woman traveller loosing every connection together with the narration (recorded voice) of an old railwayman exalting the beauty of travelling by train [...] It is surely an intentioned allegory the frequent referring to tunnels and elichoidal ways of the train stretch Cuneo-Nizza, that is symbol of dark moments and totuous in the life. Piacentini’s music, more allusive than declamatory, never forgets healthy tonal fundaments: the sounds «out of range» are just those ones recorded [...] In the future Piacentini’s music will become the acoustic background in the visits [at Bussoleno’s ecomuseum] and will go also on a cd.” (Leonardo Osella)

From written declaration of the Director of the Italian Cultural Institute in Los Angeles – 30th April 2003
“[...] maestro Riccardo Piacentini and soprano Tiziana Scandaletti presented an excellent program with 20th Century’s and contemporary music, choosen and performed with admirable professionism and remarkable intelligence, exciting great interest in people and, at the end, an authentic enthusiam.” (Guido Fink)

From “La Stampa” – 26th April 2003: Casella, a way to modernity. The Duo Alterno reads again the composer from “La Cloche” to “L’adieu à la vie” to the “Favole romanesche”
“[...] Piacentini and Scandaletti have a double merit: to continue in project of making us known a rare and significant repertory and to propose it through a well measured passion, that appears to be the rightest interpretation.” (Sandro Cappelletto)

From “Il Giornale” – 22th April 2003: Voice and piano for Casella’s lyrichs
“[...] One hour of music which you can listened to without pause, seduced by an elegant phrasing, a precious joke of middle dyes and timbrical reverberations obtained from the two interpreters [...] Scandaletti, encouraged from Riccardo Piacentini’s piano, careful to realize every slightest nuance always without hanging over the melodic line, can take out a variegated and multiform vocality that well suits these pages [...] Scandaletti reveals a rare cleverness in going through different expressions, where Casella’s writing becomes sharp, sometimes livid: her voice gets on the high regions with sureness, but without sourness, and changes itself to softness like velvet in the mid register, while the piano now intervents with sharpness now with far pealing, now with punctuations like thin stalactites, in a phantasmagoric kaleidoscope of imagines [...] the agreement between the two performers is perfect [...] charme and malicious underlinings are mixed with a perfect symbiosis.” (Attilio Piovano)

From e-mail of the musicologist Fiamma Nicolodi on 10th April 2003
“[...] beautiful CD with Casella’s lyrichs! It is a meritorious work of which we felt the absence [...]” (Fiamma Nicolodi)

From e-mail of the musicologist Enrico Fubini on 4th April 2003
“[...] wonderful CD [...] really important also from the cultural point of view (Casella was always forgotten by the discography!) [...] very good pianist [...] very good singer [...]” (Enrico Fubini)

From “National Youth Achievement Award” of Singapore – 8th January 2003: An evening with Duo Alterno of Italy
“[...] an excellent and unusual concert of contemporary Italian music, offered by Ms. Tiziana Scandaletti and Mr. Riccardo Piacentini. Mr. Mah Bow Tan, Mininster for National Development and Chairman of the National Youth Achievement Award Advisory Board, was pleased with the turnout at the event. The residents [...] and guests clearly enjoyed the evening [...]” (James Soh)

From “La Stampa” – 12th September 2002: Impressionism for voice and piano
“Strange and very interesting program that one proposed from Settembre Musica at the Piccolo Regio Theater in Turin. The Duo Alterno, formed from Tiziana Scandaletti and Riccardo Piacentini, performed four Alfredo Casella’s cycles of songs with strong intensity and passion [...] “Favole romanesche” on texts by Trilussa and “Deux chansons anciennes” show Casella’s sensibility in miniatures inspired from popular songs, while “L’adieu à la vie” written in 1915, on texts by Tagore, reveals a really impressive tragic sensibility [...] one of the most precious things in the 20th Century Italian chamber music which the Duo Alterno since many years cultivates with success through CDs and live performances [...] Concert full of people and smart success.” (Paolo Gallarati)

From “Il Piccolo” – 30 novembre 2001: Duo Alterno makes discovered the Italian Lied
“[...] the two musicians [Riccardo Piacentini and Tiziana Scandaletti] with cleverness and passion went through an interesting anthology of pieces composed during sixty years of Italian music [...] In the triple role of presenter, pianist and composer too, Riccardo Piacentini explained with distinguished manner the whole performance, started with neoclassic pahos and Stravinsky’s evocations of Petrassi’s ‘Two Lyrichs by Saffo’ written in 1942 to which followed Dallapiccolas’ ‘Three Poems’ [...] Then, with sensibility that only a deep harmony can product, the Duo performed Manzoni’s ‘Du Dunkelheit’ on Rilke’s texts and Solbiati’s ‘Hölderlin Lieder’, both dedicated to the Duo Alterno; from these pieces emerges [...] Piacentini’s skill in helping the voice and lighting the accompainment through unusual pianistic flares.” (Patrizia Ferialdi)

From “Musica e Scuola” – December 2001:
“Riccardo Piacentini, Tiziana Scandaletti, Michele Lomuto: three sacred monsters in contemporary music. Don’t you believe it? Insert the CD “Arie condizionate” [“Conditioning Air”] into the player, provide yourselves with Sandro Cappelletto’s libretto, sit down and listened to... you will be able to get up only at the end of the CD. [...] “Mano mobile clic, rap fotografico-digitale per dita soliste” by Sandro Cappelletto is extraordinarily strong in comunication [...] our days together in a mix of words, musics, voices. The fantasy and the cleverness of the composer Riccardo Piacentini are extraordinary.” (Michele Gioiosa)

From “il Giornale della Musica” – November 2001: Photo-musics
“[...] photographing the sounds that surround us [...] then converting them in a grammar where, like in the photography, the glance of the composer is anyway present. Together with the concret materials, very selective and indeed not too realist [...], are mixed Tiziana Scandaletti’s agile voice, that introduces into the tissues of the well made texts of Sandro Cappelletto an unexpected, proteinous lyricism [...], besides to the Michele Lomuto’s trombon (whose intervents are always timbrically light and cleaver), and a piano fragment that reveals [...] the authentic linguistics direction of the composer [Riccardo Piacentini].” (A. M.)

From “Novosti Nedeli” (Almati, Kazakhstan) – 26th September 2001: Joke of voice and music
“[...] People appreciated the courage of Riccardo Piacentini [...] His “Madrileño” fashinates, simultaneously, for the expression and the melody. People rewarded Riccardo applauding him with intensity.” (Y. M.)

From “L’Eco di Bergamo” – 17th March 2001: Through laudas and electronic sounds
“[...] “MIDI laus III” by Riccardo Piacentini represents a succesfull example where, in a lauda, live togheter instrumental and electronic sounds.” (E. B.)

From “L’Eco di Bergamo” – 5th March 2001: Musical gestures and jokes of words
“[...] the well harmonized and professional Duo Alterno [...] efficacious and winning [...]” (Bernardino Zappa)

From “Il Venerdì” in “la Repubblica” – 2nd March 2001: [...] the paths of the Great Music
“[...] a courageus attitude of the Duo Alterno (Tiziana Scandaletti soprano and Riccardo Piacentini pianist [...]) realizing a project with the CD recording of [all] the Sacred Works by Giorgio Federico Ghedini. In the first CD there is a beautiful and impressive “Pianto della Madonna” [...]” (Enzo Siciliano)

From “La Stampa” – 17th February 2001: «Sacred» Ghedini for voice and piano
“[...] artist of first level [...] all Ghedini’s sacred compositions for voice and piano [...] in a CD Nuova Era which proposes three unpublished works [...] The pianistic style is essential but keen on, tense, inventive [...] The pianistic style is essential but keen on, tense, inventive [...] with the interpretation of Riccardo Piacentini, multiform “homo musicalis”: pianist, composer, organizer [...]” (Sandro Cappelletto)

Dal mensile “Suonare News” di gennaio 2001:
“Una suggestiva composizione di Riccardo Piacentini pensata per la sonorizzazione di un’importante esposizione fotografica [...] Ci sembra un’ottima cosa che i compositori si cimentino con questo genere di lavori, soprattutto se ciò avviene con questo rigore e questi esiti. E cioè con un brano che potrebbe tranquillamente affrontare l’esecuzione “live” in un concerto. Riccardo Piacentini dimostra una rara competenza nel trattamento dello strumentario scelto. Una serie di minuzionse indicazioni in testa alla partitura conducono il flautista e la cantante all’esplorazione di una ricchissima tavolozza di timbri cangianti, emissioni particolari, sottili polifonie.” (Giovanni Gioanola)

From the review “Corrente Alternata” (Turin) – January 2001: Duo Alterno at the Festival Settembre Musica 2000
“[...] wonderful concert. Performers [...] the composer Riccardo Piacentini (here in the role of pianist) and Tiziana Scandaletti, a soprano with a beautiful and unmistakable voice. [...] The Church was so full of people which underlined each piece with great applause and, finally, many times called the performers [...]” (L. T.)

From “The Sun” (Baltimore, Maryland, USA) – 15th September 2000
“A vocal recital devoted to contemporary Italian composers seems positively radical. [...] the 16 attentive folks who checked out Duo Alterno’s concert Wednesday evening at the University of Maryland Baltimore County’s Fine Arts Studio, opening the 17th annual “End of the Edge Performance Series”, were rewarded with dynamic performances of fascinating music. Soprano Tiziana Scandaletti and pianist/composer Riccardo Piacentini explored the current Italian scene and vintage pieces by two giants of modern music [Luigi Dallapiccola e Luciano Berio] [...] Ennio Morricone [...] was represented by excerpts from his 1992 “Epitaffi sparsi” [...] packed with wit and kinetic energy, which the performers relished. One of the most interesting offerings was Piacentini’s “Fugitives” for voice alone, with texts by Baudelaire. The words flow in riveting, unpredictable bursts of speech, song, whispering and humming. Scandaletti revealed quite a flair in this sort of thing. It came through even more theatrically in a wild a cappella piece by Cathy Berberian [“Stripsody”...] Great fun.” (Tim Smith)

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