At the beginning, I was self-taught. At university, although I was a good student, my heart wasn’t in it, so I left. My parents were worried, but then I had the great opportunity to become the pupil of Otello Bignami. That period was the turning point for me to become a professional violin maker.

I love wood for its consistency, its aesthetics and for the sound transmission. Choosing and stocking good wood is important in order to use the right piece for the right customer at the right moment. I have some wood that I stocked in the 80s, and some extremely rare old wood too.

I would say that I am an interpreter of the material in the service of music. While the musician reads and plays music of past centuries, people like me 'interpret' the right material for the right sound according to the instrument.

I had the chance be part of the rebirth of the Bolognese liuteria and its ancient traditions. Learning how to make violins takes a long time. I don’t know if it’s in danger, I know that working in this field requires exceptional qualities, so it's hard.