Lucia Ronchetti

Lucia Ronchetti (born 3 February 1963) is an Italian composer.

Ronchetti studied composition and computer music at the Conservatory of Santa Cecilia in Rome and took part in composition seminars with Sylvano Bussotti at the Scuola di Musica of Fiesole (1981–85) and with Salvatore Sciarrino at the Corsi Internazionali of Città di Castello (1988–1989).

She studied humanities at the Sapienza University of Rome, where she got her degree in 1987, presenting a dissertation on Bruno Maderna's orchestral compositions.

In 1991 she received a Diplôme d'Études Approfondies (D.E.A.) in aesthetics from the University of Paris I-Sorbonne.

In Paris she participated in composition seminars with Gérard Grisey (1993–1996) and took part in the annual computer music courses at IRCAM (1997) under the supervision of Tristan Murail.

Starting in 1998, Ronchetti realised various productions at the Berlin Institute of Technology (TUB) in collaboration with Folkmar Hein.

The concept of otherness is a topic in Bendel/Schlemihl, Strasse-opern, 2000 to a text by Ivan Vladislavic.

In 2003 she started working at the Experimentalstudio of Freiburg, where she wrote a cycle of compositions that explore the sound configuration of the viola, with the assistance of André Richard, Reinhold Braig and Joachim Haas and in collaboration with the violist Barbara Maurer; it was presented in Berlin Festival Ultrashall in 2007 and is called Xylocopa Violacea, recorded by Stradivarius in 2010.

She has been working on the compositional treatment of the voice, collaborating intensively with the Neue Vocalsolisten of Stuttgart.

In 2005 she was a visiting scholar as a Fulbright Fellow at the Music Department of Columbia University in New York City, having been invited by Tristan Murail.

Her works have been published by Rai Trade, Durand, Ricordi and Lemoine, and produced, commissioned and performed by such institutions as the Bayerische Staatsoper in Munich, Konzerthaus Berlin Rai Radio Tre in Rome, Deutschlandfunk Kultur, Ensemble Modern in Frankfurt, MaerzMusik in Berlin, Musik der Jahrhunderte in Stuttgart, ensemble recherche in Freiburg im Breisgau, Festival Ultrashall in Berlin, RAI National Symphony Orchestra in Turin, WDR Sinfonieorchester in Cologne, La Fenice in Venice, Wittener Tage für neue Kammermusik, Radio France and the Munich Biennale.

Borders (limen are in focus in Der Sonne entgegen, a 2009 chamber opera to a text by Steffi Hansel. transitory mental illness (Le voyage d'Urien, drammaturgia, text after André Gide and 19th-century psychiatric reportages, 2008). Sub-urbanity is featured in Rumori da monumenti, 2007 to a text by Ivan Vladislavic, and also in Sebenza e-mine, an audio play of 2010 in collaboration with Philip Miller.

For her music theatre projects, she has collaborated with writers Ermanno Cavazzoni, Ivan Vladislavic and Eugene Ostashevsky, and with artists such as Toti Scialoja, Alberto Sorbelli, Judith Cahen, Dörte Meyer, Adrian Tranquilli, Elisabetta Benassi, and Mirella Weingarten, and with sound designers Marie-Hélène Serra, Folkmar Hein, André Richard, Reinhold Braig, Carl Faia, Olivier Pasquet and Thomas Seelig.

Her opera Inferno based on Dante's Divine Comedy, using his poetry, was commissioned by the Oper Frankfurt, and was premiered in a concert performance at the Bockenheimer Depot on 27 June 2021, conducted by Tito Ceccherini.

They created eight different productions: Studio detto dei venti, for four voices in 2010; Le voyage d'Urien, for voices and ensemble in 2008; Hamlet's Mill, for voices, viola and cello in 2007; Coins and Crosses, for six voices in 2007; Pinocchio, una storia parallela, for four male voices in 2005; Last Desire, a chamber opera for treble voice, countertenor and bass in 2003; Hombre de mucha gravedad, for four voices and string quartet in 2002; and Anatra al sal, Comedia harmonica for six voices in 2000, recorded by Kairos in 2010.

She has realized numerous music theatre projects inspired by the social scene, exploring social concepts in the dramaturgy.

Outsider groups and dysptopia feature in Narrenschiffe, and in-transit action, 2010 to a text after Sebastian Brant.

She subsequently studied musicology with François Lesure at the École pratique des hautes études, Sorbonne, and received a doctorate with her thesis on the orchestral style of Ernest Chausson and Wagnerian influence on late 19th-century French orchestral writing.