Matteo D’Amico

Born in Rome in 1955, Matteo D’Amico studied with Barbara Giuranna, Guido T urchi, Irma Ravinale and Franco Donatoni. Since the early 1980s his music has featured at Italy’s leading contemporary music events and at prestigious venues abroad, in Paris, Athens, Prague, Madrid, London, Moscow and Tokyo, among other cities. His works have been performed by Dorothy Dorow, Giuseppe Sinopoli, Mariella Devia, Albert Dohmen, Arturo Tamayo, Paolo Carignani, Corrado Rovaris, Rinaldo Alessandrini, Daniele Gatti, Antonio Pappano, Gregory Kunde, Vladimir Jurovskij, the Hilliard Ensemble, the Quartetto Prometeo and Andrea Lucchesini, among others. His work focuses principally on the relationships between music, poetry, theatre and dance. Notable works draw on the poetry of Mallarmé (L ’Azur, 1988; Sonnets et rondels, 1993; Hérodiade, 2025), Tasso (Rime d’amore, 1998, conducted by G. Sinopoli), W . H. Auden (Auden Cabaret, special mention at the Prix Italia 2006), Brodsky (Flight from Byzantium, 2010, conducted by V . Jurovskij and commissioned by the London Philharmonic Orchestra) and Marlowe (Veni veni Mephostophilis, 2011, conducted by A. Pappano and commissioned by the Accademia di Santa Cecilia). He has also worked extensively in sacred music, notably in his Stabat Mater (1999), setting sacred texts and writings by Vincenzo Consolo. He made his operatic debut in 1990 at the Cantiere Internazionale d’Arte in Montepulciano with Gli spiriti dell’aria, a fantastical operetta commissioned by Hans Werner Henze. Subsequent operas include Farinelli, la voce perduta (OperaInCanto, 1996), Dannata epicurea (Teatro Massimo, Palermo, 2004), Patto di sangue (Maggio Musicale Fiorentino, 2009), Le Malentendu (Macerata Opera Festival, 2009), Il viaggio di G. Mastorna (Rimini and Ravenna, 2021) and La vita nuda (Teatro dell’Opera di Roma, 2026). He has also composed major works for dance: Mascherata Veneziana (Arena di Verona, 1993), La Ronde (Maggio Musicale Fiorentino, 1995) and Animae Corpus (Rovigo, 1999).