Bio
About me...
International renowned guitarist
on fine historical instruments
Guitarist and teacher, Federica Artuso specialises in researching and performing on historical high quality instruments. Her recordings, awarded by the international press and specialist magazines, are the result of innovative artistic projects.Her debut solo album with the opera omnia of the 19th century composer Emilia Giuliani received enthusiastic international acclaim. The album was named CD of the Week by Weta Classical-Washington (which dedicated a 7-day listening marathon to it) and Naxos Sweden; CD of the Month by Amadeus and DotGuitar; it was awarded 5 stars by the historic Italian magazine Musica, which published an interview with him on the occasion. The Spanish magazine Ritmo listed him among the reference recordings of 19th century guitar music. In Japan, it was named Editor's Choice by The Record Geijutsu, and Gendai Guitar published a special dossier about the disc.
Federica was interviewed by RAI Radio 1 about her work in rediscovering the female guitar repertoire, which she also conducts in collaboration with musicologist Nicoletta Confalone (Chitarra d'oro per la musicologia, 2014).
With luthier Fabio Zontini, she collaborates on a project on the Papier-Mâché guitar, a legendary instrument made by Andalusian luthier Antonio de Torres, considered the ‘Stradivarius of the six strings’. The project saw the release of a vinyl and a CD for the Velut Luna label with two copies of the Papier-Mâché guitar made by Zontini himself. To publicise the lost sound of this unique instrument in the history of violin making, Federica Artuso and Fabio Zontini devised a conference-concert that debuted at the National Museum of Musical Instruments in Rome and is now touring in Italy and abroad. In 2025 the disc won the prestigious prize Chitarra d'Oro for the best solo CD.
During a concert at the National Museum of Musical Instruments in Rome with the Papier-Mâché guitar built by the luthier Fabio Zontini
As a chamber musician, Federica participated in the recording of a box set with several first recordings from the Villa-Lobos repertoire made for Naxos by guitarist Andrea Bissoli, with whom she has formed a duo since 2006. International music critics have praised her recordings (Diapason, BBC Music Magazine, Radio France, Folha de São Paulo, Musica) and, among other accolades, they include: Naxos CD of the month in Germany, CD of the week on Radio Cultura FM Brazil, CD of the month on Amadeus and on Seicorde.Federica was interviewed by RAI Radio 1 about her work in rediscovering the female guitar repertoire, which she also conducts in collaboration with musicologist Nicoletta Confalone (Chitarra d'oro per la musicologia, 2014).
With Andrea Bissoli at Theatre des Salons (Geneve)
Her training took place at the school of Maestro Stefano Grondona, with whom she obtained a Diploma in guitar and a Level II Academic Diploma, both with top marks, honours and special mention. Among her teachers he likes to remember, in addition to Grondona himself, Paul Galbraith, Laura Mondiello, Oscar Ghiglia and Andrea Dieci, as well as his youthful experiences as a scholarship holder at the Accademia Chigiana in Siena and at the Fondazione S. Cecilia in Brescia. In duo with guitarist Andrea Bissoli she has studied the ancient repertoire with Monica Huggett and Sigiswald Kuijken in Italy and Belgium. The ensemble performs 19th-century music on period instruments made by the French luthiers La Prevotte and Lacote (the same luthiers who made instruments for the 19th-century virtuosos Aguado and Sor).
At the Jornadas de Antonio de Torres in Almeria 2025, where she performed a concert with the original Torres SE 122 from 1888 and the Papier-Mâché made by Fabio Zontini, inspired by Torres's guitarra de carton .
For her interpretations, she has received prizes and mentions in international competitions (including the historic Gargnano competition, the Premio delle Arti and the Migliori Diplomati d'Italia) and has given concerts as a soloist in Italy and several European countries. She also performs with dancer Samuele Berbenni from the corps de ballet of the Teatro alla Scala in Milan and with the flutist Nicola Campitelli. Her recordings have been broadcast several times by ABC Classic Australia, Weta Classical Washington, New York Public Radio, Radio France, Radio Nacional de España, CBC Radio Canada, RAI Radio 3.
With Samuele Berbenni, from the Teatro alla Scala in Milan
With Andrea Bissoli at Theatre des Salons (Geneve)
Her research into sound has led her to use historical or inspired instruments. She currently plays guitars by Renè Lacote (Paris, 1830), Francisco Simplicio (Barcelona, 1929), Enrique Garcia (Barcelona, 1917), and Jacques Vincenti (Garcia copy, Geneva, 2007).
In addition to these instruments, Federica plays an Antonio de Torres guitar (SE 122) built in Almería in 1888. The loan of this instrument was made possible thanks to the cultural and philanthropic initiative “Adopt a Musician”, conceived and financed by MusicMasterpieces SA - Lugano (CH).
The culmination of this dedication to historical violin making was achieved with participation in the Jornadas Antonio de Torres in Almeria in June 2025.
She is also passionate about teaching: having graduated with honors in music education, she teaches at the Sassari Conservatory and in summer advanced courses in Santa Caterina in Vafurva.
Federica is passionate about Philosophy (a subject in which she graduated with honors), Mindfulness, and Woody Allen films.
With Paul Galbraith
With Stefano Grondona
With Nicola Campitelli
"Il suo suonare è qualcosa di speciale, fuori dall’ordinario, raro, nel senso più profondo.”
(Paul Galbraith, UK-Brasile)
"Ci sono occasioni in cui un interprete si identifica totalmente con il proprio strumento, al punto di formare una sola cosa, in cui risulta impossibile distinguere il primo dal secondo"
(Andrea Bedetti per MusicVoice)
“Artuso è un chitarrista che suona con fluidità e con pienezza di carattere.”
(Henry Fogel per Fanfare, U.S.A.)
"Con questo repertorio Artuso si rifà a quel modello musicale che richiede grande espressività e cura dei dettagli, ricreandolo alla perfezione .”
(Esther Martin per Ritmo, Spagna)
“L’interpretazione di Federica Artuso è davvero notevole, è veramente un tutt’uno con questa musica. Questo album permette a Emilia Giuliani di prendere posto tra i grandi compositori per chitarra sola.”
(Jean-Michel Dauriac per Clic.Musique, Francia)
“La plasticità dell’eloquio strumentale appare notevole, accattivante e pienamente convincente. Sebbene sia evidente l’agilità con cui la Artuso attraversa impeccabilmente pagine spesso di marcata natura virtuosistica, più che un’esuberanza eclatante, sono proprio la sensibilità del fraseggio e la varietà di colori ed espressioni a caratterizzare le sue interpretazioni”
(Renato Brusotti per Musica, Italia)
“Tecnica e virtuosismo non significano solo, banalmente, rapidità di esecuzione ma anche controllo del suono, dello strumento, dell’articolazione: in questo mi sembra che Federica raggiunga davvero un livello eccellente.”
(Cristiano Poli Cappelli per Dot.Guitar, Italia)
“La performance di Federica Artuso è stata elegante, brillante, impeccabile.” (Marco Riboni per Amadeus, Italia)
“Federica Artuso: eccellente chitarrista.”
(Il Gazzettino, Italia)
“Artuso comprende profondamente questa musica e ci consegna ogni frase con direzione, varietà e sicurezza. Sfrutta costantemente il cambiamento di umore della musica con uno spettro ampio di dinamiche, colori e articolazioni.”
(Jim McCutcheon per American Record Guide, U.S.A.)
“Abbiamo una sorprendente donna-chitarrista che suona la musica di questa donna-compositrice: Emilia Giuliani.”
Weta Classical (Emittente radio e TV dedicata alla musica classica, Washington USA)
HANNO SCRITTO DI LEI...
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