Rosario Cicero early guitars

Interpreter of the ancient repertoire for guitar, he outlined in the course of his concert activity, an original playing style, the synthesis of a constant search for instrumental techniques and aesthetics of the time. His performances, on faithful copies of instruments of the ‘500 and’ 600, have brought to light rare pages of often forgotten manuscripts and codices and aim to restore the original spirit of the ancient ‘tablatures’ for guitar, revealing always alive and current analogies with the past and tradition. His musical training, completed in the international courses held by Hopkinson Smith (Estoril, Tours, Rome), was emancipated in constant contact with Giuliano Balestra, under whose guidance he graduated in guitar and started the study of ancient music. He regularly holds lectures, seminars and interpretation courses at academies and state conservatories on guitar music of the 16th and 17th centuries. Performing in important national and foreign theaters (Spain, United States, France, Croatia) he made recordings for theDiscoteca di Stato and for RAI (live radio concert from the Pauline Chapel of the Quirinale) and recorded for the B.M.G. record company, for the Playgame, for the Niccolò (Guitart Collection) and, with the Renaissance guitar with four choirs, for the Opus 111 (Diapason d’oro prize with the Napolitane project). He collaborated with the ethnomusicologist Ambrogio Sparagna on theatrical and musical works, emphasizing the relationship between ancient music and the stylistic features of popular culture. He has often proposed particular concert structures, creating interrelationships between poetry, music and dance; he also carried out editorial activities, writing articles and curating columns for magazines and periodicals, including Guitart and Classical Guitars.