Enrico Di Felice began an important solo activity at a very young age, which led him to play at the Concertgebouw Amsterdam, the Musikhalle Hamburg, the Montreal festival, tours in Japan and North/South America.
After meeting Stephen Preston he undertook the study of traverso and between 1994 and 2017 he published several CDs with solo works by Albinoni, Telemann, Vivaldi, Leo, Monteclair, Vinci, Beethoven, receiving the highest recognition from the most important magazines of the sector.
He has never abandoned the modern flute dedicating himself to the contemporary repertoire also with a stable collaboration, between 2016 and 2019, with the New Made Ensemble of Milan.

Enrico Di Felice on Facebook 
The first thing you do when you pick up your traverso to start the practice day, and why?
Every day can be different and usually the first thing I play is something that's been on my music stand from the day before. This is just the beginning of my day with the traverso, because then I do something that can be, perhaps, more useful to me. Improvising to me is very useful. By building new ”preludes” every day, I try to establish a direct connection between my musical idea and the instrument, which then becomes the most natural medium of it.
Any recurring piece to play every day, and why?​
I don't have a piece that I play every day or recurringly.
Do you have a daily routine?​
No, I don't.
What kind of goals do you set for your practice?​
The main objective of my study is to find a typically baroque flute sound. I'm not interested in playing louder every day, I prefer to take care of the timbral aspect and a sort of traverso idiom which, we know, is far from a modern flute. To achieve this goal, I think it is very useful to devote a lot of time to the less immediate shades of the traverso. G minor and D minor (which are still typical keys), but also B flat major and F major (which would be much less relevant) help in my opinion to calibrate the sound and to better take care of the general intonation of the instrument.
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
The daily study of the modern flute often aims at achieving ever more extreme technical skills. The modern flutist must play loud and fast. Unfortunately, it seems that they are the only objectives to be achieved in order to be competitive and I do not really agree with that.
The baroque flute has different, much more refined objectives, which require attention to the quality of the sound, also in relation to repertoires born in different years and places. I cannot imagine a unified approach to the sound of the baroque flute from De La Barre to J.S. Bach, as these two authors should always be played with very different instruments and nuances.
What are the key elements and unmissable points of daily practice?​
To take extreme care of intonation!
How long and distributed should warm-up and practice be?
There is no set time. The warm-up should end when you feel ready to start studying the repertoire.
Any  specific tip to address difficult technical passages during daily practice?
We know that the fingerings of the traverso are often very awkward, and it may happen that in order to play even a simple interval of a second it is necessary to move many fingers all together. To get good synchronism of the fingers, for example, I always recommend studying a passage of quadruplet with rhythmic variations, such as follows:
In these variations, in the longer note one has time to work out the movement of the fingers in the shorter notes. It is certainly not an innovative system and I believe that there is no teacher of any instrument in the world who would not recommend this method of study.
Are there any tools that are particularly useful for practicing?
I have actually been using a method for many years to cure intonation, that I don't know how common it is. Since the harmony of the eighteenth-century repertoire does not deviate very often from the alternation between tonic and dominant, it is important to have a reference note which allows us, at least with these two degrees of the scale, to obtain overlapping intervals of fourth and fifth, as well as unisons, absolutely free of beats. To give a practical example: if I study a piece in D major I will play it with the reference note (D or A) provided by a drone app in my right ear through an earphone. I'd also like to know if this somewhat "painful" method is being used by anyone else.
Any other general advice, suggestion, tip?
It is very useful to be able to sing the song we are studying. Even if we are not singers, our voice is the most immediate tool we have at our disposal, if you know how to sing it (in tune) it is likely that you also know how to play it in tune. In fact, we know that the notes of the flute can grow or fall in relation to the pressure of the air we introduce into our instrument, doesn't the voice have a very similar behavior?
Knowing how to sing it will also help us in choosing ornaments because our inventive imagination is likely to be more natural and immediate.
How do you advise your students as far as structuring their daily practice?
I believe that whoever plays the traverso already starts from a certain awareness of their own needs, possibly acquired from the practice of the modern flute. It can be important to record yourself, listen and then evaluate objectively and rigorously what deserves to be improved.
Are there any specific pieces particularly beneficial to be played regularly in daily practice?
I usually suggest Quantz’s Capriccios e Jean Daniel Braun’s Pieces (with some overlap), which are generally good for all levels.