Laurea in History of Music with Highest Honors, University of Bologna; Renaissance Lute Diploma, Conservatorio, Verona. He is the recipient of a fellowship from the Regione Toscana for archival research in the National Library of Florence. His more than five hundred performances include concerts in Italy, France, Germany, Switzerland, England, Holland, Brazil, Israel, Belgium, Spain, Norway, Denmark, and Poland, and often he conducted the ensemble. He has worked on musical arrangements, radio broadcasts, and more than fifty recordings of Italian Renaissance and Baroque music. His most recent publications include The Complete Works of Paolo Pietro Borrono (Tree Edition, 2007), The Complete Works of Joan Ambrosio Dalza (Tree Edition, 2006), The Complete Works of Giulio Cesare Barbetta (Tree Edition, 2005) and The Complete Works of Bernardino Balletti (Tree Edition, 2001).
Since 2007 Gian Luca is artistic director and musical conductor of the Cappella di Santa Maria degli Angiolini, an early music ensemble based in Florence. The mission of the Cappella di Santa Maria degli Angiolini project is the preservation and promotion of the musical repertoire that dates back to the 16th and 17th centuries, large parts of which are still unedited and unpublished and rarely, if ever, performed in regular concert festivals or recorded. The two main sponsors of the Cappella di Santa Maria degli Angiolini are IMAF (International Music and Art Foundation) and SACI (Studio Art Centers International).
|Le Ariose Vaghezze di Carlo Milanuzzi
Audio CD, edited by Gian Luca Lastraioli & Enrico di Ienno, Published by SACI, 2009, financial support IMAF
|Lo Scrigno Armonico
Audio CD, edited by Gian Luca Lastraioli & Max Jacob, Published by SACI, 2008,
financial support IMAF
|Canzonette, Madrigali & Arie alla Romana di Enrico Radesca di Foggia
Audio CD, edited by Gian Luca Lastraioli & Max Jacob, Published by SACI, 2007, financial support IMAF
Gian Luca in the news
http://www.saci-florence.edu/news.php?idn=151Concert in the Chapel
Sound Art is a relatively new form of artistic expression, and, being such a “young” field you may think that it is a game with no rules. Ok fine, it's true that in this class I teach at SACI you'll be allowed all the freedom you want in experimenting with sound construction, sound composition and with the infinite possibilities to show/deliver/play them to your public, but still, in order to be truly and successfully experimental, you'll need to know a certain amount of essential facts about what has already been done by other important artists/musicians who investigated the field before you. That's why I'll teach you some technical and formal rules, but, at the same time I'll encourage you to break them, if you feel like such a step could help you to expand your own creative horizons. (By the way: did you know that Beethoven deliberately decided not to compose music in the style of Mozart, but that he knew Mozart's music very well and admired it?)