Audio & Video


Malambo by Ginastera - Colli&Rubini Duo

From the 4 Danzas from the ballet Estancia by Alberto Ginastera, a music video directed by Marco Cassini, featuring Sara Centorame. The music was transcribed by Martina Colli for the exclusive use of the Colli&Rubini Duo. A dancer, whilst walking through the streets, suddenly hears the music and follows it. She eventually finds the duet: captured by the energy and the spirit of this piece, she starts dancing. We see the girl and her intense movements in the crowded Piazza Fontana di Trevi, along the silent, narrow streets of the centre, inside a cafe anf around the Palazzo del Quirinale. Her dance grabs the attention of everyone and the music permeates the air.

The idea of this video relates to the origin of the malambo as a male folk dance from Argentina. In our video, the dancer becomes a female and the countryside a city: Rome stands in for Buenos Aires as the femals dancer for the male ones. It all metamorphoses into a captivating experience where the music activates all the magic.

Für Elise


Here it's me at the age of 6, in Italy, at my first official performance! My father suggested that I could pretend to be alone in my living room, playing as natural as usual. My piano teacher asked me to make the start of the piece important and elegant. I did my best to follow these the two pieces of advice!


Dance for Piano Solo and Premier Pro


The ArtEx project gave me the fantastic opportunity to work with a visual artist, Tamarin Norwood, and a composer, Enrica Sciandrone. We have had such a great experience together that we want to do it again! 




Here I am at the Institute of Italian Culture in London, performing with Valeria Desideri a piece by Enrica Sciandrone. The story of the famous fairy tale is here presented in its original version, where Cinderella is crying on her mother’s grave. But the magic will bring here a surprise…




Total Potemkin

Total Potemkin


The music was composed to comment and accompany visitors watching the exhibition Total Potemkin, displaying Ben G. Fodor’s pictures. The piece structure recalls a succession of photographs: the episodes follow one another, with occasional reappearances, as a visitor walking back to a particular photo. Each episode is based on different musical features, such as a rhythmic motif, sound effect or structure. As in improvisation, the tension is fluctuating unpredictably, the patterns are suddenly interrupted or developed. The tones are also diversified by using the entire range of the piano keyboard. To compose this music I had to create from scratch all these fragments, which I then recorded and mixed. As Ben's photographs, I wanted to express the blurred boundaries between the human and nonhuman dimension, where tension and relaxation create the phenomena. In a world where divergences of mankind bring desolation and loneliness, the universal language of music bears once again hopes and moves hearts.