It is congenial to Stefanía Amedeo music that played, and still plays, with regard to these authors and style research. The Iberian compositions, performed with interpretative originality, are revealed in timbre peculiarities and in the color of his piano playing has been able to achieve, with surprising results. the inclusion of flamenco art, the reference to the “cante Jondo” and its rhythmic specificity, substantiate many of the works of the authors of a single Iberian drama. from Granados and Albeniz to the “New music school” Spanish of the ‘900, which sees De Falla and Turina maximum authors, Stefanía Amadeus continued its research closer to the Latin American composers, G. Guastavino, Ginastera A., E. Lecuona, A. Piazzolla and others; in them he has rediscovered a constant folk whose musical complexity involves not only high school technical skills, but also a DC voltage with the potential of the instrument. The Lecuona piano and piano conversion of Piazzolla songs are, for example, forms an exceptionally difficult trial and involve the need for an interpretative reinvention that, dialectically, once again the effectiveness of the text. Another exception, although it is still connected to the previous research, deserves the choice of other Mediterranean authors, especially Italian, often overlooked in programs and usual repertoire. It is Giuseppe Martucci, of particular importance in the author pianistic formation of Stefanía Amedeo, Enrico Mineo, Constantine Palumbo and Francesco Cilea. The musical richness of the authors mentioned, and others included in policy proposals, has its roots in the Mediterranean folklore with the recovery of ancient motifs and traditional tunes, translated language in piano with skill and expressiveness. Francesco Cilea Stefanía Amedeo has prepared the execution of the work omnia for piano.