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(Turin, January 26, 2026) – Composer and musician Virginia d’Ettorre, 31, is aiming to revitalize classical music for a younger audience with her project “Electronic Baroque,” which blends baroque and classical repertoire with live electronic music.
D’Ettorre,a mother of three,is forging a unique path in the music world,recently declining a leadership role at the National Academy of Santa Cecilia in Rome to pursue her artistic vision.
- Age: 31
- location: Turin, Italy
- Project: “Electronic Baroque” – fusing baroque and classical music with live electronics.
- She composes her own music, moving away from solely performing existing works.
- She believes that classical music can be made more accessible and engaging for younger audiences through innovative performance styles.
A Musical Journey
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D’Ettorre’s musical journey began at age six with violin lessons, later adding piano to her studies, according to a recent interview. She described feeling an “internal pressure” to transform her playing into something uniquely her own.
Growing up in a large family with parents who are both criminal lawyers, d’Ettorre found support for her artistic pursuits. She collaborates with her sister, a photographer, and the family often engages in communal music and art projects with children, she said.
Balancing a career and motherhood has presented challenges, with d’Ettorre having three children in consecutive years. Though, she found that “playing is absolutely more compatible than any job,” allowing her to bring her children on tour and continue her work.
Influences and Breakthroughs
A pivotal moment in d’Ettorre’s career came through her encounter with composer Ezio Bosso. She shared pieces with him at a masterclass, and he encouraged her to write her own music, telling her to “Write. put on paper. Give shape to your thoughts.”
Further exploration led her to Bruno Zanolini in Lugano, a specialist in 16th-century music. This experience broadened her approach, moving her away from academic constraints and towards more contemporary production techniques. At 25, she was invited to the Venice Biennale as a master collaborator and musical stage director, where she realized the potential of combining orchestra and digital sound.
“Electronic Baroque” and Reaching New Audiences
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