MIRIAM PRANDI, cello
… one has the impression that the cellist lives only in her performance. She sings the second theme with warmth and the beginning of the development has such interpretative depth that it is surprising as a result of a young performer … T. Schacher, Schweizer Musikzeitung

Thanks to a musical talent of rare communication and versatility, Miriam Prandi stands out with her interpretations as an exceptional personality who tackles the solo and chamber repertoire not only as a cellist but also as a pianist.

In January 2014, a jury of eminent musicians chaired by cellist Sol Gabetta awarded her first prize at the Rahn Music Prize in Zurich and she made her debut at the Tonhalle Zurich with the Dvorak concerto.
Among the numerous debuts as a soloist, we remember the Teatro alla Scala in Milan under the direction of Vladimir Fedoseyev, in 2023 with the National Orchestra of Polish Radio NOSPR in Katowice under the direction of Michele Spotti and in 2024 with MusicAeterna under the direction of Teodor Currentzis. She has performed with numerous orchestras, including: Gstaad Festival Orchestra conducted by Neeme Järvi, Orchestra Haydn conducted by Michele Mariotti, Maggio Musicale Fiorentino, Bern Symphony Orchestra, Orchestra dell’Arena di Verona, etc.
Her interest in modern and contemporary music led her to explore important works such as the Sonata for Cello Solo by Sândor Veress, the Sacher Variations by Dutilleux, the compositions of G. Sollima, R. Shchedrin and the Sonata by Fazil Say, the latter presented in its Italian premiere at the Amici della Musica in Lucca. In addition, she was a guest on the prime-time television program “Via dei Matti” on Rai 1, commissioned by Stefano Bollani.
In addition to her solo career, Miriam Prandi also has a chamber repertoire that has seen her perform in the most important halls in Italy and abroad, collaborating with various artists such as Pietro De Maria, Andrea Lucchesini, Pavel Vernikov, Natalia Gutmann and Salvatore Accardo. As cellist of the Delian Quartet from 2016 to 2018, she was a regular guest in important music centers such as the Berlin Philharmonie, the Konzerthaus Berlin and the Konzerthaus Wien, the Rheingau Music Festival.
In 2018, Oehms Classics released the CD with the complete recording of Bach’s Art of Fugue, recorded at Deutschlandfunk in Cologne. In 2020, the CD for Suonare News was released, live recording of the concert as cellist and pianist (Mozart Piano Concerto K414 and Haydn C major Cello Concerto) at the Sala del Conservatorio Verdi in Turin. The CD of the Dvorak concerto broadcast live on the radio with the Polish National Radio Orchestra conducted by Michele Spotti was recently released by Amadeus magazine.
Miriam Prandi studied with Antonio Meneses, Natalia Gutman and Ivan Monighetti.
Thanks to the support of the Pro Canale Foundation in Milan, Miriam plays a cello Giovanni Grancino (Milan around 1712).

GLORIA CAMPANER, piano
In over thirty years of her career, she has performed on every continent, gracing prestigious venues such as Carnegie Hall in New York, the Auditorium Parco della Musica in Rome, Cadogan Hall in London, Kioi Hall in Tokyo, and the Arena di Verona. She has also ventured to remote and unconventional locations worldwide to bring music beyond borders—from the experimental city of Auroville in India to Easter Island, the Rocinha favela in Rio de Janeiro, and the townships of Cape Town in South Africa—while maintaining a steadfast commitment to social engagement.

Born in Veneto in 1986, Gloria Campaner is regarded as one of the most versatile and innovative pianists of her generation. She has explored new languages and interactions between classical music and other art forms, blending genres with jazz (collaborating with Stefano Bollani, Leszek Możdżer, and Franco D’Andrea), electronic music (Alioscia Bisceglia from Casino Royale, Boosta from Subsonica), contemporary dance, and even sculpture (performing with and on the “sounding stones” of Pinuccio Sciola). Her interdisciplinary approach extends to literature, such as her Beethoven project with Alessandro Baricco and the Canova Chamber Orchestra, presented at the Arena di Verona and the Teatro Comunale in Ferrara, streamed to schools across Italy. She has recorded for EMI, Warner Classics, and Sony Music.

Recently, amid a globe-trotting career, Campaner chose to suspend her concert activity indefinitely—not to rest, but to explore new languages and redefine ways of “serving music,” or rather, musicians. This led to the creation of “C# See Sharp,” a project designed to help young talents look inward and “look beyond,” overcoming fears, unlocking creativity, and channeling emotions. Now also a performing coach, she says, “I’ve experienced anxiety and stage fright before performing and didn’t know who to turn to. We need to address emotional management in classical music too.” Her training is crafted for artistic talents but proves useful to anyone preparing for a public performance. She regularly conducts seminars and masterclasses around the globe.

Continuing to acquire new skills and experiences in the performing arts, Gloria Campaner is delving into opera direction, stage management, and musical theater. Formerly the artistic director of the MAP Festival in Taranto, the Bellini Association in Messina, and the “Nei Suoni dei Luoghi” festival in Friuli, in 2024, she joined forces with Nicola Campogrande to create “Seven Springs – The Sound of Holden,” the first musical adventure of the Holden School in Turin.