Angelo Branduardi is born February 12, 1950 in Cuggiono, a small village drowned in the green Milanese country. He is still an infant when his family left for Genoa . It is there that he passed his childhood and his adolescence, first in a house of a "disreputable" district of the old port, then in the periphery. He frequented the schools of the district where he started learning music. Toward 6 years he wanted to learn to play the piano, but being impossible for convenient reasons, he chose the violin that he studied in the Conservatory Niccolò Paganini, where he became soloist of the orchestra. It is at the end of the adolescence that he returned to Milan , where he registered at the Technical institute for the Tourism. There he met his "unforgettable professor", poet Franco Fortini. It is also at this moment that Angelo abandons a little the violin to the profit of the guitar, more in vogue to this period. He made a brief passage then by the Faculty of philosophy, which he left after some months, not having found any answers to his existentialist questioning. He met Luisa Zappa there however, whom he married some years later. He started his musical "production" then, since it is to this period that he put in music the words of his favourite poets, giving birth to Confessioni di un malandrino, adaptation of a poem of the Russian poet Sergej Esenin.

In 1974 began for Angelo Branduardi the discographic adventure with a first album simply named Angelo Branduardi, under the RCA stamp, arranged and supervised by Paul Buckmaster. An album certainly still 'immature" but that introduced already to the artist's future style.

In 1975, either hardly one year later, appeared La Luna, opening on a climate typically branduardian, a world of fables and fantasies that presents the first co-writing of Angelo with his wife Luisa. The symbolic essentially turns on the human’s relations with the nature, music but also death. On this album came out finally the famous confessioni di un malandrino. With this album, a friendship and a fundamental collaboration are born with Maurizio Fabrizio, who will work with the artist in numerous other productions.

We met him therefore on the following one: Alla fiera dell'est for Polygram in 1976, which received the Price of the discographic critique the same year. The style branduardi got settled like a dream that ignores itself in an atmosphere of popular fables, Hebrew with Alla fiera dell'est, Germanic with Sotto it tiglio, oriental in Il dono del cervo or Breton with La serie dei numeri. There again the human’s relation with the nature is fully treated, as the one with the death, in Il funerale.

The following year we find Angelo as guest on the album Samarcanda of Roberto Vecchioni.

In 1978 Angelo Branduardi presented to his public a new production: La pulce d’acqua, always in a fantastic ambiance, made of fables from all over the world, of Zen philosophy, of relative legends to Merlin, passing by the gospels of Matthiew and the Breton legends without forgetting the narrations of the Indians of America of which he made the leading title of this album for which he again got the collaboration of Maurizio Fabrizio and the launeddas of the Sardinian master Luigi Lai.

1978 marked the beginning of the big European tours for the artist: one met him notably this summer in the first edition of the Carovana del Mediterraneo among other artists as the Banco del Mutuo Soccorso, Maurizio Fabrizio, Luigi Lai or Mizrahi.

In 1979, a new album Cogli la prima mela, an atmosphere of unhappy joy around the feminine picture, that elated the public and received a price of the musical critique and a platinium album. Branduardi sings there the femininity, always inspired by fables and myths but also of histories. It is however the unhappy love that Branduardi sings through fables of diabolic husbands, of tragic loves. With this album it is the artist's consecration: solicited everywhere, the public could see him notably in Paris for the Fête de l’Humanité, where he gave a show before a parterre of about 200 000 people.

The tours of these last two years gave birth in 1980 to a triple album live and to a video of the same name: Concerto. This same year, Angelo left during the summer with the Carovana del Mediterraneo for "a long feast with Angelo Branduardis and his friends Stephen Stills, California Blues Band, Richie Havens and many others .... " through Italy , Germany and France .

In 1981, Branduardi saw himself dedicated better artist of the year with the album Branduardi, for which Paul Buckmaster hold arranger's role again. In this new album, the artist evolved, the writing also evolved, more evocative, the accent being put on the rythms and percussions, in an mixture instinctive and harmonious and yet sophisticated. One finds this time themes different of the previous albums, as joy to meet, the friendship or the feast. The album is structured, starting from an "introduction" (L’amico), continuing on typical pieces, of which La cagna, interpretation of a poem of Esenin, to slip finally toward songs to the sunnier rythms, with a small stop on a fanciful touch (Il disgelo) before the big final.

This same year, we heard the songs of Angelo in the movie Un matin rouge of Jean-Jacques Aublanc.

1983 was the year of Cercando l’oro, album born of the desire to play and to sing and whose only thread driver is the pleasure to leave in search of something, just for the pleasure to share it with others. There Angelo known again how to surround himself. In guest, we met in Piano piano the Celtic harp and in La giostra the bagpipe of the big Alan Stivell. For the graphic side, it is Emanuele "Lele" Luzzati that gave life in pictures to the songs of Branduardi.

1983 was also the year of the first steps of Angelo in the domain of the movie soundtrack. He achieved the music of the movie State buoni se potete of Luigi Magni, for which he got the David di Donatello price and a Nastro D’argento. On this occasion, Branduardi, put a foot in the cinema, the first and the last one: he interpreted indeed, the role of Spiridione, professor of music, in charge of making singing the choir of the children of San Filippo Neri.

Followed then a period of silence.

One caught then a glimpse of Branduardi among other artists in projects as Volare and Mother and child reunion in 1985, then Poets in New York in 1986, album dedicated to poet Federico Garcia Lorca and for which he put in music the poem Cry to Rome. (Grido a Roma)

1986 marked the return of Branduardi: first of all with the very beautiful Original Soundtrack of Momo, adaptation of the work of Michael Ende by Johannes Schaaf. But especially with the album Branduardi canta Yeats, a "compilation" of about ten poems of the Irish poet William Butler Yeats, translated and adapted by Luisa Branduardi and put in music by Angelo. A magnificent album, to the acoustic sound, for which Branduardi called again on Maurizio Fabrizio. There one dives again in a dream of grace and beauties, impossible loves, innocence, music and death. One recovers therefore through the Irish poet, the themes that are dear to the artist, the all in a realization intimist and magnificent.

In 1987, Branduardi signed the music of the movie Luci lontane of Chiesa Aurelio.

1988 , it is the publication of Pane e Rose, always in collaboration with Maurizio Fabrizio, a very colorful, very rythmic album. In the middle of songs to the very African or Creole sonorities, one recovers the human’s relation with the nature (L’albero), the love (donna mia, tango), the myth (Barbablu', Miracolo a Goiania ), the childhood and an adaptation of the last letter of Ernesto Che Guevara to his parents.

In 1989, Branduardi signed the music of an another movie of Luigi Magni: Secondo Ponzio Pilato, of which we will keep the very beautiful Canzone del deserto .

With Pane e Rose, Branduardi approached a new phase of his style: this change has been confirmed in 1990 with the album Il ladro, last album that he signed with Polygram. There, a rarefied ambiance, sink. It is not there about love and rejoicing, but atmospheres more heavy, even melancholic, with a touch of rancor and vengeance and however, it remained an album very challenging. The cover is signed Silvio Monti.

1990 was also the year that marked the beginning of numerous collaborations, as for example with Le Orme (Orme) or Fabio Concato and Mussida (Radici di terra).

1992 marked a new departure with a signature with EMI, the publication of a Best Of, of a compilation of the movie soundtracks, Musiche da film, as well as of a new album: Si puo' fare. In an ambiance more cheerful and carried away we find again different themes as the love, the departure, the travel... For this album he allocated himself the collaboration of Zachary Richard, Canadian artist, to whom he gave the change in co-singing io brucio, on the album Snake bite Love.

In 1995, Branduardi signed Domenica e lunedi. This album imposed the artist's present style. We find Maurizio Fabrizio there again but beyond we find a parterre of magnificent authors: to the texts of Luisa Branduardi, came to be added those of the experimental poet Pasquale Panella, of Paola Pallottino, Roberto Vecchioni, Eugenio Finardi or Laurent Of Medici said the Magnificent. It is on the same time an album tender and scathing, poetic and lively, an invitation to life and to the love without forgetting the realities. This album has been dedicated to Franco Fortini, who was the professor of Branduardi.

Following this album, an European tour of about 80 dates gave birth in 1996 at a second and waited album live Camminando Camminando, also accompanied by a video of the same name, on which one will note two unpublished works whose texts have been signed by Giorgio Faletti: Piccola canzone dei contrari and L’apprendista stregone.

The same year he participated to the album Le petit Arthur of Alan Simon, and offered a magnificent Rose des vents, French version of the song Vanità di vanità of the original soundtrack of the movie State buoni se potete .

In 1996, Branduardi produced what was the first of the Futuro Antico. He renewed there with his classic formation at the sides of the group Chominciamento di Gioia under the direction of Renato Serio. This album presents a dozen of titles, adaptations of musics and songs of the Middle Ages, of the whole Europe , mingling the profane music and the sacred one. The artist also renewed with his minstrel's face, that made his success at the beginning of his career, and gave back life to the music of an age musically forgotten.

In 1997 he collaborated with Baccini and sang Mani di forbice and with the Nuova compagnia di canto popolare with Pesce d’o mare and Festa d’o sole.

1998 saw appearing the album Il dito e la luna, whose fanciful and unusual texts are signed Giorgio Faletti. The texts seem joining on the idea that it is necessary to watch beyond the appearances, beyond what is visible, the obsession of the rationality. One will also note the touch of self-mockery and the “I” narrative of La comica finale. Musically it is a very pleasant album to listen, to the contrasted sonorities, at the colors of its texts.

Still in 1998, a double album compilation Studio Collection, regrouping the most famous pieces of the maestro Branduardi.

This same year he participated to the album Excalibur – La légende des Celtes of Alan Simon.

In 1999, it is with the birth of Futuro Antico II that Branduardi closed the millennium at the sides of the ensemble Finisterrae, directed by the maestro RenatoSerio. He took this time the music of Maestro GiorgioMainero, character of the 16th century. One recovers there among others SchiarazulaMarazula, a sort of classic and complex version of Ballo in Fa diesis minore.

He collaborated that year with EnnioMorricone on the album of this last one: Cinema-Concerto as well as with Skiantos.

In 2000, the new millennium of Branduardi started with two collaborations: with the Tenores di Neoneli and the song Ai cuddos and with Giorgio Faletti and La grande attrazione. Finally it is a new album that celebrated the Christian millennium, L’infinitamente piccolo, inspired of the lauda and executed from the writings of San Francesco of Assisi, at the demand of the Franciscan monks of Assisi . This album harvests the involvement of big artists as Franco Battiato, Madredeus, Ennio Morricone, the Nuova Compagnia di Canto Popolare, I Muvrini and the orchestra La Viola. This album has had a big European success. With musics sometimes surprising, Branduardi has known how to show a different face of the saint.

2002 saw appearing Futuro Antico III, with the collaboration of the ensemble Scintilledimusica, directed by FrancescaTorelli. This time it is at the court of the Gonzagues of Mantua , big patrons of the end of the 15th century, that Branduardi transports us. Pieces of Monteverdi, Gastoldi or therefore Saracini but also of French composers (Planson and Vallet) and English (Dowland) in 6 "movements" treating of the love.

Finally to remain in the theme of the love, Branduardi produced in 2003 Altro ed altrove, parole d’amore dei popoli lontani: 13 songs adapting "words of love” arriving of another times and other countries. From the Nepal of Laila Laila to the Irish balad Donna di Luce, passing by the Indians of America, the Kabyles of Africa, the Japanese tradition or Lebanon , Branduardi invites us to the travel beyond the borders of the space and the time, on the path of the "universal feeling of the love". To come with this magnificent album, the illustrations of Silvio Monti.

Has followed a long tour of magnificent concerts, during which the artist painter exhibited on stage in harmony with the singer. Of these paintings is born an exhibition Viceversa that turns at the moment in the biggest cities of Italy .

Also in the actuality of the Lombard artist a lauda, Francesco, based on the album L’infinitamente Piccolo, gathering on stage actors, dancers as well as the Maestro Branduardi and his Orchestra.