Montura and the Suoni delle Dolomiti share a longstanding bond. Since the festival’s early editions, Montura has been a steadfast partner, embracing its spirit of originality and exploration - always thinking outside the box, always seeking a unique identity.

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With a ‘party’ at Rifugio Fuciade, at Passo San Pellegrino (in the Marmolada group, the “queen” of the Dolomites) attended by the writer Alessandro Baricco and the musical group ‘Diabolus in Musica’, the 30th edition of ‘I Suoni delle Dolomiti’, probably the most famous music festival at high altitude in the world, opened on 6 June.

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The 2025 edition, masterfully guided by artistic director Mario Brunello, a world-renowned musician and a great ‘friend’ of Montura, will feature a rich calendar of events. In the presence of the Dolomite peaks there will be classical music, rock, folk, jazz, world music, ethnic music, crossover, songwriting, and even opera, literature and performance theatre.
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Official start on 27 August and then
a cascade of 16 cultural gems unfolds, including the now classic “Albe sulle Dolomiti” (Dawns in the Dolomites) and the highly popular “Trekking con gli Artisti” (Trekking with Artists), led by Maestro Brunello, which will close on 14 September with a concert at the Rifugio Brentei in the Brenta Dolomites. The last appointment, with a fascinating event, will be on 4 October 2025, when the European Youth Orchestra EUYO will once again perform at Fuciade.

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Access on foot, respect for nature, free events, inclusion. These are some of the elements that characterise the festival to offer a different way of approaching the mountains, now a UNESCO World Heritage Site. Sounds of the Dolomites has distinguished itself year after year both for the very high level of the artists present, but also for a progressive attention to how to harmoniously integrate an event objectively characterised by large numbers in environments of great ecological and landscape delicacy.

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Ever since the first editions, Montura has stood by the festival, sharing its spirit and originality, always outside the box and in search of its own identity. The Sounds “people” know and follow these events with anticipation and participation. Many have collected numerous Montura t-shirts that, year after year, are produced with distinctive graphics to commemorate the event. Montura has also always been present with the dressing of the artists, who in some cases had never played at high altitude in their careers and would never have thought that to perform on the stage of the Dolomites one would have to prepare oneself also from this point of view.

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Over time, strategic choices such as that of moving the calendar away from the period of greatest frequentation of these mountains, a sort of “off-season” where music becomes sovereign among woods and walls, have taken on increasing weight. At the Suoni concerts, people arrive on foot, sometimes at dawn, they mostly use public transport or car pooling, they leave no signs of human presence other than a bit of trampled grass, there is no shouting or cackling, radios and mobile phones are turned off, but world-famous artists are applauded, who discover, often for the first time with enthusiasm, that even in open places excellent acoustics can be found. The Suoni have also played a role in sustainability in this respect, as for years they have been “educating” their visitors to approach the mountains in a manner that is correct and respectful of the environment, animals and other people, even adopting correct dressing.

Mario Brunello, the great cellist who has been in charge of the artistic direction since the beginning, defined the “sound” of the Dolomites as follows:

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It is a sound to be invented, a sound that you build for yourself and for those who are listening to you at the moment it happens. It is not a predefined sound, it is created in the encounter between music, environment and audience. It is a unique and unrepeatable experience.

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What Sounds of the Dolomites is, Brunello recalls with an anecdote.

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At my first concert, under the Torri del Vajolet, a lady arrived, who had travelled from Bergamo especially to hear the concert. She arrived late, when the music was already over. She was desperate. I did not realise immediately that she was blind. She had a dream of listening to music in the middle of the Dolomites, not of seeing the mountains, of hearing them through music. It was she who wanted to be in that silence, in that space to listen to the music, that made me realise that the idea of the Festival was a winner.

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