Fondazione Teatro Donizetti is a newly formed foundation established in 2014 with headquarters in Bergamo.
The foundation is non-profit and cannot distribute profits.

The Foundation pursues, on a nonprofit basis, the promotion of culture and art, taking care of the dissemination of musical and theatrical art, stimulating citizens, and in particular young people, to educational and growth experiences and cultural paths. The Foundation aims to promote, support and increase the cultural growth and activities of the Donizetti Theater, taking on in a prodromal way, the primary task of restoring the Theater to its functionality by taking care of the necessary structural adjustments.

The Foundation also aims to promote prose, dance, music, literature, culture and the arts, according to an integrated path of production, distribution, updating, training and hospitality. The Foundation intends to foster relations with national and international bodies in order to promote and disseminate the cultural heritage of the city of Bergamo and its Theater.

The Foundation supports the operation and management of the movable and immovable complex “Teatro Donizetti” and plans and implements its theater, opera and music seasons, also in cooperation with other theaters or institutions. The Foundation may also carry out other activities, including promotional and complementary activities.

Foundation members are divided into: Founding Promoters, Participating Members and Partners.

View the Bylaws

Presidente:

Dr. Giorgio Berta

Board of Directors:

President Dr. Giorgio Berta Vice President Dr. Alfredo Gusmini Councilor Mr. Emilio Bellingardi Councilor Dr. Simona Bonaldi Councilor Dr. Enrico Fusi Councilor Dr. Giovanni Thiella Councilor Dr. Alessandro Valoti

Donor Council:

President Dr. Eleonora Doneda
Vice president Dr. Anna Villari

A2A
ALLIANZ
ATB
FLOW METER
INTESA SANPAOLO
IRE OMBA
KPMG
NUOVA DEMI
OMB
RULMECA
SACBO
TRUSSARDI PETROLI
UNIACQUE

Auditor:

Marco Rescigno

General Manager

Massimo Boffelli

Born in Bergamo in 1972, he graduated in Modern Literature from the Paolo Grassi School of Dramatic Art in Milan. His professional career has developed over time according to a double track: on the one hand, the path as artistic director of events of international relevance, closely connected to the conception of innovative projects always in the field of opera; on the other hand, he runs parallel the activity of director in Italy and abroad, without neglecting teaching. From 2012 to 2017 he was artistic director of the Macerata Opera Festival, a glorious event born in 1921 within the superlative setting of the Sferisterio: in four years Micheli relaunched the institution, bringing it back to its original international prestige with flattering feedback from critics and audiences. His is an unprecedented festival, a place of research and excellence, in the belief that opera is an invaluable common good. Since December 2014 he has been artistic director of the Donizetti Foundation, where he is carrying out a profound perspective revolution on the role and works of the Bergamasque composer, bringing to the Orobic city the values and ideas that substantiate his artistic project; he has founded two city festival moments: the Donizetti Night in June and the Donizetti Opera festival in the fall in which the composer’s rarest works are performed. Micheli’s creativity also finds shape in a series of projects, in collaboration with various theaters, designed to give the broader public a chance to approach the world of opera. His popular activity has seen him author and presenter in the television field for the Sky Classica and Sky Arte networks in the conception and conduction of programs related to opera; he leads a weekly column on Rai 1. On the directing front, after his beginnings due to As.Li.Co., numerous theaters and national and international festivals for which Micheli has signed the direction of operas that have often remained in the repertoire, at the Fenice in Venice, the Arena in Verona, the Maggio Musicale Fiorentino, the Teatro Massimo in Palermo, the Comunale in Bologna and the NCPA in Beijing.

Riccardo Frizza (Brescia 1971), trained at the Milan Conservatory and the Accademia Chigiana in Siena, is considered among the leading conductors of his generation, particularly devoted to the Italian opera repertoire of the 19th century.

He is a regular guest at Teatro alla Scala in Milan, Maggio Musicale Fiorentino, Teatro Regio in Turin, La Fenice in Venice, Opera in Rome, Rossini Opera Festival in Pesaro, Festival Verdi in Parma, and Macerata Opera Festival. Abroad, he has conducted at the Opéra National de Paris, Lyric Opera of Chicago, San Francisco Opera, Metropolitan Opera in New York, and Bayerische Staatsoper in Munich, among others.

In the symphonic field, he has served on the podium of the Accademia Nazionale di Santa Cecilia, the Gewandhaus in Leipzig, the Sachsische Staatskapelle in Dresden, the Orchestra Sinfonica di Milano “Giuseppe Verdi,” the Mahler Chamber Orchestra, the St. Petersburg Philharmonic Orchestra, the Philharmonia Orchestra in London, the Tokyo Symphony Orchestra and the Tokyo Philharmonic Orchestra. His engagements in recent years include Norma at the Lyric Opera of Chicago, Rigoletto at the Liceu in Barcelona, Lucia di Lammermoor at Teatro la Fenice and I Puritani in Budapest, Falstaff at the Verdi Festival in Parma, Il pirata at Teatro alla Scala, Anna Bolena in Rome, and Falstaff in Dallas. He was invited to give a Lectio Magistralis at Chicago University as well as at the Italian Cultural Institute.

Since 2017 he has been music director of the Donizetti Opera Festival in Bergamo, where he conducted Il castello di Kenilworth in 2018 and Lucrezia Borgia in 2019 for the first performance of the new critical edition of the score published by Ricordi and Fondazione Teatro Donizetti. His Donizetti repertoire includesLucia di Lammermoor, L’elisir d’amore, Linda di Chamounix, Maria Stuarda (at the MET with Sondra Radvanovsky), La fille du régiment, Lucrezia Borgia (at San Francisco Opera with Renée Fleming), Roberto Devereux (again in San Francisco), and Anna Bolena (at Rome Opera).

Professor Emeritus at the University of Ferrara, he is president of the National Edition of Donizetti’s Operas. From 1992 to 2000 he represented Italy on the board of the International Musicological Society. Music director of the Institute of Renaissance Studies in Ferrara, he is a member of the scientific committee of “Saggiatore musicale.” He directs the series “ConNotazioni” (Lucca, LIM) and the periodical “Musicalia” (Pisa, Fabrizio Serra). He serves on the scientific committees of the National Editions of the works of Andrea Gabrieli and Vincenzo Bellini. He is a consultant to the Deutsche Rossini Gesellschaft. In 1989 he received the Dent Medal, the annual international musicological award of the Royal Musical Association. A former visiting professor at the University of Chicago (1992), he was named an honorary fellow of the American Musicological Society in 2001. In 2015, the Societé Suisse de Musicologie awarded him the Glarean Prize. He has published, among others, Monteverdi, Turin, EDT 1985 (in Spanish: Madrid, Turner; in English: Cambridge, Cambridge University Press); The Singing Century. History of the opera libretto in the seventeenth century. , Bologna, Il Mulino 1990 and Rome, Bulzoni 2003; Metro e canto nell’opera italiana, Turin, EdT 2007; Rossini. The Man, the Artist, the Myth. , Torino, UTET Grandi Opere 2018 (in tedesco: Rossini. Künstler, Mensch und Mythos , Leipzig, Leipziger Universitätsverlag 2019). He edited the volumes Il madrigale tra Cinque e Seicento (Bologna, Il Mulino 1988), Libretti d’opera italiani (together with Giovanna Gronda: Milan, Mondadori 1997), Rossini nelle raccolte Piancastelli di Forlì (Lucca, LIM 2001), and the critical edition of: Rossini, Sinfonie giovanili (Pesaro, Fondazione Rossini 1998); Marenzio, Il nono libro di madrigali a cinque voci (Milan, Suvini Zerboni 2000). In addition to numerous articles in specialized journals and conference proceedings, on Donizetti he has published: Donizetti ritratto in piedi, Bergamo, Sestante 2016; the critical edition of Anna Bolena, Milan-Bergamo, Ricordi – Fondazione Donizetti 2017; Gaetano Donizetti. Papers and Documents 1797-1830 , Bergamo, Donizetti Foundation(National Edition of the Works of Gaetano Donizetti), 2018.

Maria Grazia Panigada graduated with an honors degree in Modern Literature from the State University of Milan with a thesis on the educational value of theater. She began her activity collaborating with Benvenuto Cuminetti and the University of Bergamo on research issues related to theater in educational settings. In 1999 she was called to coordinate the Teatro Scuola office of the Donizetti Theater. Since then she has been intermittently involved, at various institutions, in the planning and implementation of educational projects related to drama theater. She specializes in the realization of cultural and spectacular events involving entities and realities of the territory. For the City of Bergamo, she conceived, among others, the Carnevals La piazza delle Meraviglie, Sant’Alessandro: la virtù (2014 the Mercy, 2015 the Gratitude, 2016 the Courage) and Bergamo Città luogo d’incontro, a project that involved more than 60 entities at the same time. She was responsible for the theater section of Molte Fedi sotto lo Stesso Cielo, while for the Bernareggi Foundation she created the cycle Le città invisibili. Masters and cultures in dialogue. Cycle of evening performances dedicated to the great texts of faith. Since 2016, she has been responsible for and curator of the Donizetti Theatre’s prose production choices: Ivan co-production Atir Teatro Ringhiera, Del coraggio silenzioso with Marco Baliani and original music by Mauro Montalbetti, Accabadora co-production with Compagnia Veronica Cruciani and Cranpi. Shows that have been hosted in the best Italian theaters (Piccolo Teatro, Teatro Franco Parenti in Milan, Teatro Bellini in Naples, Teatro Stabile in Rome…). In particular, the production Per te with the Compagnia Finzi Pasca of Lugano has taken the Fondazione Teatro Donizetti, as a producing body, to several countries around the world from the Brisbane Festival in Australia to Mexico, from Canada to Spain. He edited the series Quaderni dello Spettacolo published by the City of Bergamo – Assessorato alla Cultura from 2000 to 2009 (year of the last publication). Through a formative approach, he has been leading storytelling theater workshops aimed at students, teachers and adults for 20 years. In recent years, she has been experimenting and specializing on the application of this expertise in the artistic field, carrying out projects at the GAMeC in Bergamo and the Pinacoteca di Brera, among others. She is currently carrying out projects at the Sistema Museale del Valdarno Chianti and the Uffizi Galleries in Florence. Part of these experiences are recounted in the volume edited with Simona Bodo and Silvia Mascheroni A heritage of stories. Storytelling in museums , a resource for cultural citizenship (Mimesis Editions, 2016). He has been a member of ICOM (International Council of Museums) since 2018.

A singer and composer, she began her concert activity in 1976 as a singer and multi-instrumentalist in groups researching ethnic and cultured music from the Mediterranean, Balkan and South American areas. Since the 1980s she has been active in the jazz field internationally, collaborating with musicians such as John Taylor, Ralph Towner, Rita Marcotulli, Ernst Rejiseger, Enrico Rava, Enrico Pieranunzi, Guinga, Norma Winstone, Steve Swallow, Gianluigi Trovesi, Danilo Rea, Enzo Pietropaoli, Paolo Fresu, Paolo Damiani, Cameron Brown, Ramamani Ramanujan, David Linx, Diederik Wissels , Area, and performing in special events with musicians of the caliber of Joe Zawinul, Michael Brecker,Peter Erskine, Kenny Wheeler, Miroslav Vitous, Nguyen-Le, Uri Caine, Dave Liebman, Billy Hart, Eliot Ziegmund, Steve Turre, Maria Joao, Monica Salmaso, Art Ensemble of Chicago and many others, participating in major international festivals. Her research on singing and voice embraces different fields of action: from personal elaboration of the Neapolitan language and culture through improvisation music and encounters with different cultures (the most recent: the Brazil of Guinga, Chico Buarque and Ivan Lins), improvisation and electronics, proximity with baroque music, work on the song form without genre limitations. Very active since 2007 with the duo Dialektos with British pianist Huw Warren, with whom she has recorded two CDs for the Parco della Musica label, playing throughout Europe and touring the Far East. She starred in the opera Diario dell’assassinata, at the Teatro San Carlo in Naples in April 2014, again with Huw Warren at her side. She launched in 2011 the project Il Pergolese, which she later recorded for the prestigious ECM label, with François Couturier, Anja Lechner, Michele Rabbia, performing at major European festivals and theaters. In 2016 she performed at the Lyon Opera in a “carte blanche” of 5 projects she directed. It was presented at the Auditorium in Rome and at the Blue Note in Milan, the CD Core[coraçao], her work of Neapolitan versions of songs by Chico Buarque, Guinga, Egberto Gismonti, which features Chico Buarque as a guest on two tracks, arrangements by Roberto Taufic, and great musicians Huw Warren on piano, Gabriele Mirabassi on clarinet, Roberto Rossi on percussion. Also guesting is the Large vocal ensemble ” Burnogualà,” directed by De Vito herself, who is currently busy recording the project Moresche ed altre invenzioni. Named by the American magazine Down Beat among the ten Artists of the Year in 2001, in the “Beyond Artist” category, together with names such as Joni Mitchell and Caetano Veloso, she won in 2008, 2009, 2011 the “Top Jazz,” Critics’ Referendum held by Musica Jazz magazine, and from 2010 to 2018 she won the popular referendum held by JAZZIT magazine, as well as the 2012 Musica e Dischi award for the best international production with her record Mind the Gap. In 2016 she received the Lifetime Achievement Award from the Musica Oggi association. She has been a professor of Jazz Singing at the Conservatorio di Santa Cecilia and the Saint Louis Music College in Rome. She currently teaches at the Domenico Cimarosa Conservatory of Avellino. From 2016 to 2018 she was artistic director of the Jazz section of the Ravello Festival, one of the most prestigious classical music festivals internationally
The Donizetti Theatre Foundation is a newly established foundation established in 2014 with headquarters in Bergamo.
The foundation is non-profit and cannot distribute profits.
The Foundation pursues, on a non-profit basis, the promotion of culture and art, taking care of the dissemination of musical and theatrical art, stimulating citizens, and in particular young people, to educational and growing cultural experiences and paths. The Foundation aims to promote, support and increase the cultural growth and activities of the Donizetti Theater, taking on in a prodromal way, the primary task of restoring the Theater to its functionality by taking care of the necessary structural adjustments.
The Foundation also aims to promote prose, dance, music, literature, culture and the arts, according to an integrated path of production, distribution, updating, training and hospitality.. The Foundation intends to foster relations with national and international bodies in order to promote and disseminate the cultural heritage of the city of Bergamo and its Theater.
The Foundation supports the operation and management of the movable and immovable complex “Donizetti Theater” and plans and implements its theatrical, opera and music seasons, also in cooperation with other theaters or institutions. The Foundation may also carry out other activities, including promotional and complementary activities.
Foundation members are divided into: Founding Promoters, Participating Members and Partners..

ORGANIGRAMMA

Presidente:

Dr. Giorgio Berta

Board of Directors:

President Dr. Giorgio Berta
Vice President Mr. Emilio Bellingardi
Councilor Dr. Enrico Fusi
Councilor Avv. Elisabetta Ricchiuti
Council or Dr. Roberta Sestini
Councilor Dr. Giovanni Thiella
Councilor Dr. Alessandro Valoti

Auditor:

Marco Rescigno

Donor Council:

President Dr. Eleonora Doneda
Vice president Dr. Anna Villari
A2A | ALFAPARF | ALLIANZ | ATB | BCC | CASSA LOMBARDA | FLOW METER | INTESA SANPAOLO | IRE OMBA | KPMG | TIES | NEW DEMI | OMB | RULMECA | SACBO | TRUSSARDI PETROLI | UNIACQUE

General Manager

Massimo Boffelli

Artistic Directors

Born in Bergamo in 1972, he graduated in Modern Literature from the Paolo Grassi School of Dramatic Art in Milan. His professional career has developed over time according to a double track: on the one hand the path as artistic director of events of international relevance, closely connected to the conception of innovative projects always in the field of opera; on the other hand runs parallel the activity of director in Italy and abroad, without neglecting teaching.
From 2012 to 2017 he was artistic director of the Macerata Opera Festival, a glorious event born in 1921 within the superlative setting of the Sferisterio: in four years Micheli relaunched the institution, bringing it back to its original international prestige with flattering feedback from critics and audiences. His is an unprecedented festival, a place of research and excellence, in the belief that opera is an invaluable common good.
Since December 2014 he has been artistic director of the Donizetti Foundation, where he is carrying out a profound perspective revolution on the role and works of the Bergamasque composer, bringing to the Orobic city the values and ideas that substantiate his artistic project; he has founded two city festival moments: the Donizetti Night in June and the Donizetti Opera festival in the fall in which the composer’s rarest works are performed.
Micheli’s creativity also finds shape in a series of projects, in collaboration with various theaters, designed to give the widest audience the opportunity to approach the world of opera. His popular activity has seen him author and presenter in the television field for the Sky Classica and Sky Arte networks in the conception and conduction of programs related to opera; he leads a weekly column on Rai 1.
On the directing front, after the beginnings due to As.Li.Co., numerous national and international theaters and festivals for which Micheli has signed the direction of works that have often remained in the repertoire, at the Fenice in Venice, the Arena in Verona, the Maggio Musicale Fiorentino, the Teatro Massimo in Palermo, the Comunale in Bologna and the NCPA in Beijing.

Riccardo Frizza (Brescia 1971), trained at the Milan Conservatory and the Accademia Chigiana in Siena, is considered among the leading conductors of his generation, particularly devoted to the Italian opera repertoire of the 19th century.
He is a regular guest at Teatro alla Scala in Milan, Maggio Musicale Fiorentino, Teatro Regio in Turin, La Fenice in Venice, Opera in Rome, Rossini Opera Festival in Pesaro, Festival Verdi in Parma, and Macerata Opera Festival. Abroad, he has conducted at the Opéra National de Paris, Lyric Opera of Chicago, San Francisco Opera, Metropolitan Opera in New York, and Bayerische Staatsoper in Munich, among others.
In the symphonic field, he has served on the podium of the Accademia Nazionale di Santa Cecilia, the Gewandhaus in Leipzig, the Sachsische Staatskapelle in Dresden, the Orchestra Sinfonica di Milano “Giuseppe Verdi,” the Mahler Chamber Orchestra, the St. Petersburg Philharmonic Orchestra, the Philharmonia Orchestra in London, the Tokyo Symphony Orchestra and the Tokyo Philharmonic Orchestra. His engagements in recent years include Norma at the Lyric Opera of Chicago, Rigoletto at the Liceu in Barcelona, Lucia di Lammermoor at Teatro la Fenice and I Puritani in Budapest, Falstaff at the Verdi Festival in Parma, Il pirata at Teatro alla Scala, Anna Bolena in Rome, and Falstaff in Dallas. He was invited to give a Lectio Magistralis at Chicago University as well as at the Italian Cultural Institute.
Since 2017 he has been music director of the Donizetti Opera Festival in Bergamo, where he conducted Il castello di Kenilworth in 2018 and Lucrezia Borgia in 2019 for the first performance of the new critical edition of the score published by Ricordi and Fondazione Teatro Donizetti. His Donizetti repertoire includesLucia di Lammermoor, L’elisir d’amore, Linda di Chamounix, Maria Stuarda (at the MET with Sondra Radvanovsky), La fille du régiment, Lucrezia Borgia (at San Francisco Opera with Renée Fleming), Roberto Devereux (again in San Francisco), and Anna Bolena (at Rome Opera).

Professor Emeritus at the University of Ferrara, he is president of the National Edition of Donizetti’s Operas. From 1992 to 2000 he represented Italy on the board of the International Musicological Society. Music director of the Institute of Renaissance Studies in Ferrara, he is a member of the scientific committee of “Saggiatore musicale.” He directs the series “ConNotazioni” (Lucca, LIM) and the periodical “Musicalia” (Pisa, Fabrizio Serra). He serves on the scientific committees of the National Editions of the works of Andrea Gabrieli and Vincenzo Bellini. He is a consultant to the Deutsche Rossini Gesellschaft.
In 1989 he received the Dent Medal, the annual international musicological award of the Royal Musical Association. A former visiting professor at the University of Chicago (1992), he was made an honorary fellow of the American Musicological Society in 2001. In 2015 the Societé Suisse de Musicologie awarded him the Glarean Prize.
He published, among others, Monteverdi, Turin, EDT 1985 (in Spanish: Madrid, Turner; in English: Cambridge, Cambridge University Press); The Singing Century. History of the opera libretto in the seventeenth century. , Bologna, Il Mulino 1990 and Rome, Bulzoni 2003; Metro e canto nell’opera italiana, Turin, EdT 2007; Rossini. The Man, the Artist, the Myth. , Torino, UTET Grandi Opere 2018 (in tedesco: Rossini. Künstler, Mensch und Mythos , Leipzig, Leipziger Universitätsverlag 2019).
He edited the volumes Il madrigale tra Cinque e Seicento (Bologna, Il Mulino 1988), Libretti d’opera italiani (together with Giovanna Gronda: Milan, Mondadori 1997), Rossini nelle raccolte Piancastelli di Forlì (Lucca, LIM 2001), and the critical edition of: Rossini, Sinfonie giovanili (Pesaro, Fondazione Rossini 1998); Marenzio, Il nono libro di madrigali a cinque voci (Milan, Suvini Zerboni 2000).
In addition to numerous articles in peer-reviewed journals and conference proceedings, he has published on Donizetti: Donizetti ritratto in piedi, Bergamo, Sestante 2016; the critical edition of Anna Bolena, Milan-Bergamo, Ricordi – Donizetti Foundation 2017; Gaetano Donizetti. Papers and Documents 1797-1830 , Bergamo, Donizetti Foundation(National Edition of the Works of Gaetano Donizetti), 2018.

Maria Grazia Panigada graduated with an honors degree in Modern Literature from the State University of Milan with a thesis on the educational value of theater. She began her activity collaborating with Benvenuto Cuminetti and the University of Bergamo on research issues related to theater in educational settings. In 1999 she was called to coordinate the Teatro Scuola office of the Donizetti Theater. Since then she has been intermittently involved, at various institutions, in the planning and implementation of educational projects related to drama theater.
She specializes in the creation of cultural and spectacular events involving local entities and realities. For the City of Bergamo, among others, she conceived the Carnevals The Square of Wonders, Sant’Alessandro: la virtù (2014 la Misericordia, 2015 la Gratitudine, 2016 Il Coraggio) and Bergamo Città luogo d’incontro , a project that involved more than 60 entities at the same time.
She was responsible for the theater section of Molte Fedi sotto lo Stesso Cielo, while for the Bernareggi Foundation she created the cycle Le città invisibili. Masters and cultures in dialogue. Series of evening performances devoted to the great texts of faith.
Since 2016, she has been in charge and curator of the Donizetti Theatre’s prose production choices: Ivan co-production Atir Teatro Ringhiera, Del coraggio silenzioso with Marco Baliani and original music by Mauro Montalbetti, Accabadora co-production with Compagnia Veronica Cruciani and Cranpi. Shows that have been hosted in the best Italian theaters (Piccolo Teatro, Teatro Franco Parenti in Milan, Teatro Bellini in Naples, Teatro Stabile in Rome…). In particular, the production Per te with the Compagnia Finzi Pasca of Lugano has taken the Fondazione Teatro Donizetti, as a producing entity, to several countries around the world from the Brisbane Festival in Australia to Mexico, from Canada to Spain.
He edited the series Quaderni dello Spettacolo published by the City of Bergamo – Department of Culture from 2000 to 2009 (the year of the last publication).
Through a formative approach, she has been leading narrative theater workshops aimed at students, teachers and adults for 20 years. In recent years, she has experimented and specialized on the application of this expertise in the artistic field, carrying out projects at the GAMeC in Bergamo and the Pinacoteca di Brera, among others.
He is currently carrying out projects at the Sistema Museale del Valdarno Chianti and the Uffizi Galleries in Florence. Part of these experiences are recounted in the volume edited with Simona Bodo and Silvia Mascheroni A heritage of stories. Storytelling in museums , a resource for cultural citizenship (Mimesis Editions, 2016). He has been a member of ICOM (International Council of Museums) since 2018.

Joe Lovano has been one of the most distinguished players on the international jazz scene for decades. He is considered one of today’s top tenor saxophone specialists, but he also plays other types of saxophones, as well as clarinet, flute and drums.
With a Grammy Awards win and 14 other nominations behind him, he has won Down Beat Magazine’s critics’ and readers’ polls countless times for tenor saxophonist, musician of the year, and album of the year. He has also received numerous awards from Jazz Times and the Jazz Journalists Association. The Italian monthly magazine Musica Jazz awarded him the Lifetime Achievement Award as part of the Top Jazz 2022 referendum.
Born in Cleveland, Ohio, on December 29, 1952 to a family of Sicilian descent, he was introduced to music and jazz in particular through his father Tony “Big T” Lovano, who taught him the first rudiments of the saxophone. Later, after graduating from Euclid High School in 1971, he enrolled at Berklee College of Music in Boston where he studied with Herb Pomeroy and Gary Burton and where he was awarded an honorary doctorate in 1998.
Worth mentioning are his collaborations with the groups of organists Jack McDuff and Lonnie Smith, with the orchestras of Woody Herman and drummer Mel Lewis, with Paul Motian, with John Scofield, Enrico Rava, and Dave Douglas. As a leader he has recorded for major record labels such as Soul Note, Blue Note, ECM.
In addition, composer Mark Anthony Turnage wrote for him a Concerto for Saxophone and Chamber Orchestra entitled “A Man Descending,” which has been performed all over the world.
Also very active on the music teaching front, Joe Lovano has taught at Berklee College of Music and is a frequent guest lecturer at New York University’s Jazz Program, Juilliard and Manhattan School of Music, as well as invited by universities around the world. Since 2009 he has been a faculty member of the Global Jazz Institute at Berklee directed by Danilo Pérez.