Born in Palermo in 1992, she studies Industrial Design at the University of Palermo and attends Performing and Media Arts of the Universidad Europea de Madrid. In 2015, she graduates and moves to IUAV in Venice where she achieves a degree in Science and Techniques of Theatre with top marks, presenting an experimental thesis of interactive design for the opera La Damnation de Faust by H. Berlioz. In 2018 she completes her post-graduate internship at the Teatro Real in Madrid where she subsequently works for the opera Turandot by G. Puccini, directed by Robert Wilson, as scenic assistant in the technical department of the theatre. Back in Italy in 2019, she began her collaboration with the Arezzo Crowd Festival and became assistant of the set designer Tiziano Santi, contributing to new productions such as Traviata by G. Verdi and Andrea Chenier by U. Giordano (directed by F. Ceresa) or Andriana Lecouvreur (directed by R. Cucchi, premiered as Opera-Film for Rai Cultura on March 2020). Since 2020 she is member of the Design Science Studio, with which she puts into practice her commitment to sustainable and synergetic design, and in the same year she made her debut as Set, Costume Designer and Video Animatior for Falstaff Chronicles – 6 episodes from Verdi’s Falstaff for the Wexford Opera Festival (directed by R. Recchia). In 2021 she designed 3D virtual audio-video immersive journey to enrich the impact of scientific experience/visualization in the artistic process and in the collective awareness, with a dramaturgy based on the original text by Voltaire, Micromégas. In the same year she returned to WFO designing the minimal set for "I Capuleti e i Montecchi", directed by Conor Hanratty. Online Portfolio: www.behance.net/serenatreppiedi

The epigraph engraved on the architrave of the Teatro Massimo in my city says «L'arte rinnova i popoli e ne rivela la vita. Vano delle scene il diletto ove non miri a preparar l'avvenire» (Art renews peoples and reveals their life. Vain of the scenes the delight where it deos not aim to prepare the future).

When I finished my Set Design Degree, I was so very lucky to start a trainship and then work in the teachnical department of a very big theatre. The potential of that theatre and the working force implied in each production is incredible and it made feel like anything was possible to imagine in Opera. But little by little I realised how, for such a big production, money were invested without a care on materials, waste, reusability and durability and many Set Elements, after huge effort in design and realization, got just discarded in rehearsal. The people involved in the production were focused on making the most money for the theatre without disappointing the Artistic team, carring a huge stress and tension between all the departments. Even now that I work in Italy, I've seen that the internal structure of the workers, save the money for a few and doesn't allow space for generational change, innovation, and just doesn't not points to the future but to keep the current situation. And each Opera represented now is a mere exercise of aesthetics that does not reflect any of the important polical, ecological and ethical matter we are crossing in this years..

A big change for the Art is needed and I just want to be part of it.