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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Tel: (+351) 234 370 389 (ext. 23700)


Júlia Fortuny Castellano (La Selva del Camp, Tarragona, 1995) is a classical and contemporary pianist. She studied for a degree in piano performance and a master's degree at the Higher School of Music in Catalonia (ESMUC) and at the Liceu de Barcelona with Pierre Reach, Enrique Bagería and Emili Brugalla. He specialized with the Master Klavier Duo at the Mozarteum in Salzburg under the guidance of Yaara Tal and Andreas Groethuysen. Later, she also studied for a Master's Degree in Piano Technique and Biomechanics at ESMAR and Musikeon with Luca Chiantore and Pablo Gómez Ábalos. He is currently a student in the Doctoral Program in Music at the University of Aveiro, with Luca Chiantore and Fausto Neves. Throughout her training, she has received official scholarships from the Pere Pons Foundation, the Liceu, the AIE and the Mozarteum for his artistic and academic performance. With the artistic project Duo de pianos Sánchez & Fortuny, she has won several prizes and performed on various stages in Spain, Catalonia, Andorra, Austria, Portugal, Israel and Kazakhstan. In 2022, the Duo published its first double CD with four-hand music by Schubert, Mozart, Czerny and Reger as part of the research for her master's thesis.
Doctoral Project
"Quatro mãos, multidão de personagens: Uma performance dramatizada dos duetos de piano de Wolfgang Amadeus Mozart"
This project consists of developing forms of interpretation that explore the potential of dramatization, dialogic, corporality and theatricality typical of the operatic scene in the interpretation of Wolfgang Amadeus Mozart's piano duets. The links between opera and instrumental music have been highlighted on multiple occasions, with special attention to the case of Mozart, either from the point of view of the performer, or from the point of view of those who are dedicated to musicology, musical semiotics, theory and analysis. However, the reality is that the potential of operatic dramatization has not systematically permeated the performance of instrumental music, despite these discourses. This reality has a field of application in Mozart's repertoire for two pianists with its own and especially stimulating characteristics.

Keywords: Artistic research; Mozart; Piano duo; Opera; Dramatization; Musical significance; Musical dialog; Corporality; Embodied knowledge.