The songs in the repertoire allow the installation of various concert proposals ranging from the sacred and secular Renaissance polyphony and early European baroque to the contemporary one, also touching on expressions of popular song and pop music of the twentieth century.


To listen to some pieces taken from the repertoire, it is advisable to visit the sections “VIDEO” and “AUDIO SAMPLES“.

A golden age that Renaissance, especially for Italy, a shining gem in Europe; it excels in every artistic field and exports all its art with great success, and it is no coincidence that many of the most excellent composers of the time have come to Italy to perfect their studies in music (but not only), sometimes becoming Masters of Cappella or, in any case, important points of reference in some of the finest courtly courts.


It is a historical-artistic-musical period of great cultural ferment, a lively breeding ground of great ideas, great masters and different genres, constantly changing and improving, from the villotte to the motets, from the sparkling chansons to the solemn masses, psalms and madrigals. A very fertile ground that favors the emergence of composers of the caliber of the French Philippe Verdelot, one of the first to compose polyphonies with five and more voices, by Orlando di Lasso, extraordinary Franco-Flemish composer, prolific and with absolutely original and heterogeneous musical writing , of the “sacred” English masters of the majestic cathedrals such as William Byrd and his mentor, Thomas Tallis, of the Mantuan Salomone Rossi, who introduced the Jewish psalmody into the refined madrigal compositional style, as well as the later Monteverdi, the culmination of the evolution of musical language which marks the transition from the Renaissance to the Baroque.

From the twentieth century to the present day the world choral panorama has experienced the rapid emergence of some composers of undisputed and recognized talent, with well-defined and characteristic compositional styles, authors of pieces that have become true “cult” that represent a musical challenge for the modern performer of not simple execution.


Here then are the modal experiments and the melodic complexities of Olivier Messiaen, or the choral weaving of Morten Lauridsen, the most performed contemporary American composer in the world, but also the suggestive, meditative and involving harmonies of the young and talented Ola Gjeilo, Eric Whitacre and Urmas Sisask, wise authors of a polyphony that draws inspiration from the teaching of the ancients, bringing back the harmonic intensity and the expressive immediacy that deeply touches the contemporary public, today more than ever eager for beauty, emotion and serenity.