- Started in
- Musician type
- Host institution
- Leuven University
Born in Cagliari in 1999, Francesca Ajossa started her musical training at a very young age in the class of prof. Angelo Castaldo at the “Palestrina” Conservatory in Cagliari, where she obtained the Bachelor Diploma in 2018. She took masterclasses from musicians such as G. Bovet, L. Lohmann, H. Deutsch, D. Zaretsky, J.Palur, L. van Doeselaar, C. Mantoux and O. Latry. As an organist she’s played at various festivals in Italy and abroad, such as the ones held in Rome, Fermo, Cagliari, Monza, Naples, Pisa, Cosenza, Alghero, Fussen, Ottobeuren and Kokkola and on December 2016 she played three concerts in Hong Kong and Macao on the occasion of the Pope’s 80th birthday. She’s also performed as a soloist with the Orchestra “La Rejouissance”, with the “Palestrina Chamber Orchestra” and in November 2018 she played the Poulenc Organ Concerto with the “Codarts String Orchestra”. In 2015 she was admitted as an active pupil to the “International Bach Academy” held by prof. Jacques van Oortmerssen and she won the Second Prize at the “Premio Abbado Competition”. She was a finalist at the “Fourth International Agati – Tronci Competition” and at the “Ambitus Competition”, and she’s one of the eight young organists who were chosen to attend the “Young Talents Class” at the Haarlem Organ Festival (2016), where she also played at the final Presentation Recital.
She recorded a CD dedicated to the Organ Music from the 19th Century in Sardinia (Tactus, 2017) and in 2019 her recording of Organ Works by Italian female composers was published by “Stradivarius”. In 2020, Francesca graduated “cum Laude” from the Master of Music at Codarts Rotterdam, where she studied with prof. Ben van Oosten and was awarded the “Grada even Beek-Donner Scholarship”. She’s currently continuing her Music Psychology studies at the University of York, as well as being the Organ Scholar in St. Peter und Paul Ratingen (Germany) and the main organist of the Church in ‘t Woudt (Netherlands).
Nowadays music is just a few mouse clicks away and comes to us in many different forms; yet, no matter in which circumstances, it is primarily linked to the auditory stimuli that it consists of.
Numerous studies show, however, that visual information also play a fundamental role in the way an audience experiences a musical performance. In contrast to traditional organ performances, where the visual element is almost absent because of the hidden position of the console, the aim of this project is to use the great communicative power of vision to enhance the expressiveness of the performance and possibly overcome the limitations pointed out in the literature through the idea of the “music projected moving bodies”: a danced choreography that is added to the performer-audience line of communication.