Roberta Terchi Nocentini

Pianist, Répétiteur and Vocal Coach


Italian collaborative pianist Roberta Terchi Nocentini has an extensive repertoire across both vocal and instrumental genres. Considered a top class vocal coach, she has regularly performed in recitals and concerts in Chicago, Rome, Strasburg, Bucharest, and London. Highlights include the performance for “La Festa della Repubblica Italiana” at the Chicago Cultural Centre with the Italian consul Angelo Finocchiaro, chamber music events at Pianoforte Foundation (events for the Italian Institute of Culture), North Park University, Wigmore Hall in London, and David Josefowitz Recital Hall at the Royal Academy of Music of London. As a répétiteur, she has worked on a broad range of operas including La Traviata with Teatro Verdi (2007), Carmen at Anfiteatro Romano di Terni (2006), The Little Sweep with Società Aquilana dei Concerti (2007), and L’Impresario in Angustie with Istituzione Sinfonica Abruzzese (2010). She has also appeared as a pianist in recital with the vocal faculty of the Royal Academy of Music Opera Programme alongside Gareth Hancock.

In April 2016, she worked as a language coach and répétiteur for Il Tabarro at St. Luke’s in Barbican. Roberta recently graduated (with Merit) from the Royal Academy of Music with a Master of Arts in Piano Accompaniment under the tutelage of Michael Dussek and James Baillieu. In London, she regularly worked with coaches Michael Chance, Richard Stokes, and Nicole Tibbles. She has honed her technique from a variety of master classes with Bengt Forsberg, Jeremy Silver and Mark Shanahan during her tenure in London; Giuseppe Sabbatini, Marco Boemi and Robert Kettelsonn during her tenure in Italy; and with Jeff Cohen and Brigitte Belleys in Strasburg. Roberta holds Masters of Music in Piano (with Distinction) and in Opera Répétiteur (cum laude) from the Conservatorio Statale di Musica “Alfredo Casella” - L’Aquila where she studied with Pietro Iadeluca, Luciano Bellini, and Marina Boesch. Roberta also obtained a Master of Arts in Modern Languages and Cultures (with Distinction) from the University of L’Aquila.

As a teacher, she began teaching at the JazzOn Music School in Italy. In London, Roberta worked as an Italian Language Coach for the Trinity Laban Conservatoire and for the Piano Accompaniment Course at the Royal Academy of Music. In Chicago, Roberta has worked as an Italian Language Coach for Chicago Vocal Arts Consortium’s Summer Opera Workshop of La finta giardiniera (2018) and Sing-Thru of L’Elisir d’amore (2019).

In 2009, she founded the Suonincanto association which aims to give young musicians the opportunity to perform in prestigious venues.

She is also an Italian teacher at Insieme a Chicago.

«Ora tu pensa: un pianoforte. I tasti iniziano. I tasti finiscono. Tu sai che sono 88, su questo nessuno può fregarti. Non sono infiniti, loro. Tu sei infinito, e dentro quei tasti, infinita è la musica che puoi suonare. Loro sono 88, tu sei infinito. Questo a me piace. Questo lo si può vivere. Ma se tu, ma se io salgo su quella scaletta, e davanti a me si srotola una tastiera di milioni di tasti, milioni e miliardi di tasti, che non finiscono mai, e questa è la verita’, che non finiscono mai e quella tastiera è infinita… Se quella tastiera è infinita, allora su quella tastiera non c’è musica che puoi suonare. Tu sei seduto sul seggiolino sbagliato: quello è il pianoforte su cui suona Dio.»

“Now you think: a piano. The keys begin. Keys end. You know they are 88, this no one can cheat you. They are not infinite, they. You are infinite, and inside those keys, infinite is the music that you play. They are 88, you are infinite. This I like. This can be lived. But if you, but if I go up on the ladder, and before me unfolds a keyboard of millions of keys, millions and billions of keys that never end, and that’s the truth, ‘that never end and the keyboard is endless … If that keyboard is infinite, then on that keyboard there is no music you can play. You’re sitting on the wrong seat: that is the piano on which he plays God.”

Alessandro Baricco, NOVECENTO, 1994


Debussi, Romance

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