Alessandra Bellino has studied composition with Bruno Mazzotta, Azio Corghi and Ivan Fedele. Her musical production includes solo and chamber works, orchestral and stage pieces, performed in Italy and in many foreign countries. She has won national and international awards. In 2006 she has been overall winner at the 1st International Composition Competition ‘Magistralia’ of Asturias with the Scene for great orchestra ”Le Gabbie di Danae”, world premiered at the Auditorium of Valladolid in 2007 with the Symphonic Orchestra of Castilla y Leòn directed by Alejandro Posada, and performed in 2008 at the auditorium Principe Felipe in Oviedo with the Symphonic Orchestra of the Principality of Asturias directed by Maximiano Valdés. In 2011 her orchestral work “Dhrupãd” was performed with success of audience and critics during the 2010/11 season of the Sanremo Symphonic Orchestra under the direction of Aldo Sisillo. In the same year she won the 2nd prize at the prestigious International Composition Contest ‘Italia 150’ 2011 (LAMS, Matera) with the composition “Silenzio! Chi ride?” for small orchestra and soprano, performed by the Chamber Orchestra of Matera under the direction of Marco Angius and broadcasted by RAI Radio 3 Suite.

Archi Magazine (marzo-aprile 2013)
... Ci sembra musica senz’altro ben pensata e ottimamente proposta, con la raffinata sensibilità di chi vuol rivolgere un pensiero al passato con occhi rivolti al futuro. Il ricchissimo curriculum della compositrice è testimonianza di grande e ardente passione per la composizione musicale, e siamo ben felici di offrirle ampio apprezzamento per l’opera proposta. Va aggiunto che il pezzo è corredato di un’ampia ed esaustiva legenda, nonché di una nota dell’autrice stessa. (Simone Genuini)

Strings Magazine (December 2012)
... Italian composer Alessandra Bellino presents a soundscape for the mythic competition between the god Apollo and the satyr Marsyas. Commissioned by the Ensemble of Naples Dissonanzen and premiered in 2008, this work offers adventurous performers the opportunity to experiment with micro tones, unusual scales, and sound effects. These include flutter-tonguing and "white noise" for the recorder, and ponticello, fingered harmonics, and irregular vibrato for the violin ... (Laurel Thomsen)