We are in front of an artist able to talk to the listener with an engaging language, not burdened with an end in itself technicality.

Vincenzo Santangelo, Rockerilla

Matteo Franceschini shows his authorial character even better than before. Shameless, harsh, extreme. His music has a strong, dreamlike impression between labyrinth-instrumental, translucent gestures and a refined timber’s development.

Angelo Foletto, La Repubblica

The only possible category to describe the work of Franceschini [editor’s note: Forèst – food opera in quattro stagioni, un prologo ed un epilogo] is work of art: total, complex, evocative, significant, new.

Monique Ciola, Il Giornale della Musica

With convincing, vibrant writing and a clear sensitivity for the narrative role of the music in its many variations and its constant fluidity, Matteo Franceschini’s instrumental theatre has an authoritative freedom and an uninhibited nonchalance in following the inclinations of his fertile but well-organised imagination. His compositional way of thinking and his attraction to the fairy-tale world, to that which is beyond mere sensory perception, remind one of Schumann.

Sandro Cappelletto, La Stampa

In vocal music of Matteo Franceschini nests a theatrical form that you might define using an antique rhetorical device: hypotyposis. This, a little bit obsolete and archaic term – which literally means “I draw” – refers to the abilities that some words have to show things in an immediate, direct, “iconic” way. Material things, like objects and people, as well as immaterial things like ideas, concepts, thoughts.

Guido Barbieri, La Repubblica

The Trentino-born Matteo Franceschini has no obviousness to reveal. In Gridario he tells some bizarre laws proclaimed by the aristocracy of his land during the 18th century, and let them be commented by an alpine choir which represents the folks that suffers the laws themselves. At the same time, the electronic reminds how this narration happens nowadays. That’s how this all gives birth to a skillful and smart contamination of resonant objects.

Girardi Enrico, Il Correre della Sera



Concerto for cello and orchestra
Cello: Xavier Phillips
Orchestre national d’Île-de-France
Conductor: Fabien Gabel


for six instruments
Ensemble Intercontemporain


for full orchestra
Orchestre National de Belgique
Conductor: Dima Slobodeniouk




for rock quartet, amplified ensemble and live electronics

theorbo and electric guitar: Bruno Helstroffer
piano and keyboards: Antonino Siringo
live electronics and electric bass: TOVEL (aka Matteo Franceschini)
drum and percussions: Stefano Pisetta

Icarus Ensemble / Cantus Ensemble

conductor: Francesco Bossaglia

sound engineer: Roberto Mandia
lighting designer: Mariano De Tassis

Production: La Biennale di Venezia, Fondazione I Teatri Reggio Emilia




Performance on the artwork ABCDEFG by Jacopo Mazzonelli
For two performers and live electronics

Performers: Jacopo Mazzonelli and Eleonora Wegher

Live Electronics: TOVEL (aka Matteo Franceschini)