Master violin maker Elisabetta Giordano was born in Cremona, Italy in 1971. After finishing her primary studies, Miss Giordano's interests in the fine arts, particularly drawing, painting and sculpture, along with her passion for wood, led her to enroll in the International School of Violin Making "Antonio Stradivarius" in Cremona. She graduated in 1991 under the guidance of Maestro Giorgio Scolari.
In 1989-90 Miss Giordano attended a course on classical guitar construction under the guidance of Maestro Claudio Poli. The course was organized by the Lombardy Region. During the following two years, Miss Giordano worked for her former teacher Giorgio Scolari. Here she pursued and advanced in her studies on construction and restoration.
Nowadays, Elisabetta Giordano has her own workshop at number 23 of Corso Pietro Vacchelli, a quick walk from Cremona's Cathedral. Here she devotes herself to the construction, restoration, repair and set-up of bowed instruments.
Miss Giordano's sensibility, engagement in the construction process, musical knowledge, as well as her friendships with many professional musicians, have led to her direct collaboration with the members of several European orchestras. Including the following:
- "Milan orchestra of "La Scala"
- "I Pomeriggi Musicali" in Milano
- "Guido Cantelli" in Milano
- "Arturo Toscanini" in Parma
- "Teatro Regio" in Parma
- "Sinfonica di Cagliari"
- "RAI" in Torino
- "Sinfonica" della Valle d'Aosta
- "Filarmonica Italiana" in Piacenza
- "Engelberg" in Switzerland
- "Peniscola" in Spain
- "Notte sinfonica Veneziana"
- "Notte Barocca Veneziana"
- "Notte Veneziana"
- "Interpreti Veneziani"
I suoi strumenti sono stati acquistati da musicisti in vari paesi europei (Austria, Svizzera, Francia, Germania) e anche in America, Giappone, Cina e Taiwan.
Ha partecipato a Mostre ed esposizioni in Italia e all'estero, riscuotendo notevoli consensi ed affermazioni.
Predilige i modelli Stradivari, Nicola Amati, Antonio e Gerolamo Amati, Giovanni Battista Guadagnini, Carlo Bergonzi, Giuseppe Guarneri del Gesù, Alessandro Gagliano, oltre ad alcuni modelli di celebri liutai del ''900, come Ansaldo Poggi, Marino Capicchioni, Ferdinando Garimberti.
After my graduation and the workshop apprenticeship with Maestro Scolari, I began to work by myself. It was then that I became aware that I was at my first stage of apprenticeship. Therefore, I decided to deepen my knowledge, and dedicated myself to the study of acoustics.
During those years I built violins, violas and cellos, following the models of the original Cremonese school and of the Italian masters of the early 20th century. I performed extended researches on the acoustic characteristics of my instruments, and took into great consideration their arching, their thicknesses and the positioning of the bass: all aspects of fundamental importance for the production of a good sound, in a step-by-step process, while listening to musicians' advices, needs and requests, the difficulties that they may face in performing a particular passage as well as their particular manias.
Their critics and my mistakes made my job never tedious, mechanic and repetitive. All that has been a great stimulus, and helped me to constantly improve my skills as a violin maker.
Today, I can surely state that my work does not proceed by trial and error anymore, because I really know, and without any false pomposity, how to make an instrument play. I understood that it is important to show an instrument in its full beauty, trying to preserve as much as possible those constructive and harmonic canons that the great violin makers from the XVII-XVIII centuries taught in Cremona, but it is even more important to give life and voice to those instruments, because we can't ignore that this is their function.