I own two Ada Quaranta violins … I count myself as extremely lucky!
This statement speaks for itself, but I am more than happy to eulogise about the superb quality of her instruments. They possess a warm, beguiling tone that at the same time displays clarity and brilliance. They have superb acoustic power, real sensitivity, are responsive to the slightest touch, and have a gloriously lengthy vibration transmission. The natural harmonics speak with ease and there’s a tangible intensity to the deeper frequencies of each tone (a quality characteristic shared by all the finest classical instruments whose sound carries far).
The appearance of Ada Quaranta’s instruments is just like that of their great classical counterparts!
Added to all this is her exemplary technique (honed from her many years of apprenticeship in some of the finest ateliers of international reputation) and an unwavering commitment to research and in-depth study. Can we possibly imagine what her instruments of the future will be like?
Concert soloist and First Violin of the QUARTETTO PAGANINI
Director of Genoa’s Istituto di Studi Paganiniani,
Professor of Violin with over forty years’ experience of teaching at Italian Conservatoire level
Bruno Pignata has often had the rare privilege and great honour of playing in concert the Guarneri del Gesù "il Cannone", the instrument which at one time belonged to Paganini.
Your violin is magnificent!
I am taken aback every day by its sound potential and quality.
The G string is fantastic: it has incredible depth and a superb timbre, the E has a brilliance and extraordinary ability to withstand all sorts of pressure. It is a perfectly balanced instrument with a rich tonal quality, capable of a fantastically vast range of colours and it is so responsive.
What I admire most in the violin is its flexibility of sound, a rare quality indeed, enabling me to convey every single nuance in timbre I need to achieve.
What more could I ask for? Well done!
Andrés Calatayud Segarra,
First violin in the Ensemble Scherzo de Valencia and Trio Gregal,
Professor at the Conservatorio Profesional de la Vall de Uixó,
Member of the Orquesta de Valencia
I truly believe that the level attained by a small number of makers working today matches that of the work of the finest classical makers of the past. Ada Quaranta falls within this category: from an aesthetic and acoustic point of view her instruments are nothing short of outstanding.
She has made two instruments for me: a modern violin with which I completed my Conservatoire diploma, and a baroque copy of an Amati.
When in 2007 I decided to commission a baroque violin from her I had clear expectations of the quality of sound and aesthetics I was to encounter and I was not to be disappointed!
This instrument has been a magnificent companion in my professional life and compares most favourably with many of the classical Cremonese instruments I have played.
Not only does Ada make superlative copies, she is a maker who is open to experiment and will explore, as she did for me, different set ups in order to satisfy fully the musical and aesthetic expectations of her clients.
The viola Ada made for me is inspired by an Andrea Guarneri.
When I played it for the first time I was immediately struck by its timbre: it felt as though someone had been playing the instrument for at least the last 50 years! Right from the outset it spoke easily and had a generous sonority about it.
I love it. It packs power when it needs to and its warmth, depth and versatility are the qualities I most admire in it when I’m playing in the quartet.
Even under the spotlight of the microphone in the recording studio it retains its superb timbre and its rich tonal quality.
The beautifully executed antique finish is impressive in its attention to detail. It has a timeless beauty, which will not fade with the passing of time.
In short, it is a superb instrument!
violist and violinist
Quartetto Maurice - Quintetto Architorti
Composer, arranger and member of numerous ensembles based in Italy and abroad
Ada Quaranta is a highly intelligent, motivated and conscientious violin maker and restorer.
For several years she worked in my atelier under my guidance, specializing in making very high quality copies of classical instruments.
Her work was consistently and in every aspect extremely professional and highly satisfactory.
Since then Ada has acquired a worldwide reputation for her craftsmanship of outstanding instruments and her work is without question some of the finest in Europe. Ada has consistently proved to be a maker of profound culture and great talent and I am sure she shall continue to enjoy a most brilliant career.
Ada Quaranta worked in our Restoration Atelier where she was involved often in extremely complex restoration work on many prestigious classical instruments.
The intricate work entrusted to her was always executed with great precision, and we were thoroughly satisfied with her achievements.
The thoughtfulness and care with which she dealt with our clients was equally impressive: she approached each commission with fresh enthusiasm and utmost conscientiousness, finding workable solutions to often particularly difficult alteration work carried out on our clients’ valuable instruments.
We wish Ada all the best in the profession. May she continue to enjoy the success she has earned.
Ada has many teaching commitments.
She is regularly invited as a capable guest speaker by several well regarded institutions to promote and publicise high quality violin craftsmanship.
In her capacity as Honorary Professor of the Violin Making School of Mexico, Ada has been invited to hold a Violin Making Course at the school for a block period of time
Ada was invited by the Violin Making School of Mexico in 1999 to hold two conferences on "Restoration Techniques: Cracks and Retouching" and "The sonority and acoustics of stringed instruments"
She is in actively involved in the Conservatorio di Cuneo and in 2005 was invited to hold a series of advanced lectures for the professors and students of the Conservatorio on "Instrument Maintenance", "Acoustics, tone and sound post adjustment" and "The Construction of Stringed Instruments"
She organises courses on the Optical Effects of Varnishes in Violin Making in conjunction with François Perego
She regularly hosts groups of students and Music Schools at her atelier to encourage young musicians to gain an insight into the world of violin making and to give them a deeper awareness of the instruments they play.