Browse 61 professional flute players available for hire in Messina, Sicily, Italy. These skilled flautists have received 96 reviews from real clients, averaging 5 out of 5 stars, offering elegant musical performances from around €120, with an average of €300. These woodwind musicians provide solo and ensemble performances for weddings, corporate events and private celebrations.
All 61 suppliers listed here are willing to travel to Messina. The nearest is based in Catania, 55 miles away.
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Hiring flute players in Messina costs between about €120 and €1,100+, with most bookings averaging €300. Pricing reflects musician experience, performance duration and repertoire complexity, and a flautist based closer to your venue will often quote less for travel. Contact the supplier you like for an accurate quote.
Based on 95 enquiries for Flute Players at events in Italy, made through this site in the last two years. Updated 5 November 2026.
Marcello Leanza
"Words can’t describe how incredible Marcello and the whole band were for our wedding, 23/5/2026. I feel emotional just writing the review! From the moment I contacted Marcello, his professionalism and attention to detail has made me feel extremely special and valued, his communication was exceptional and he truly put in the time and effort to make our day magical, even playing “Here Comes the Sun” by the Beatles for us as a special nod to our Liverpool roots. The band looked impeccable, so stylish in their suits and sunglasses! And they ensured everything ran smoothly, from the ceremony, to the aperitivo and then the dinner. Not only that, the music was simply breath taking - every song choice we loved. It was lively, but classy and still allowed guests to talk while enjoying it. The setting - sipping our wine in the Sicilian sunset with their fantastic music… it’s something we’ll never forget. Each musician was a master of their craft and we genuinely feel honoured to have had them. I feel like we have made a friend for life and we extend the invitation to visit us in Liverpool, if they ever fancied it! Thank you from the bottom of our hearts, we genuinely are on a high from the day."
Donata Greco
"We hired Donata to play at our wedding just outside Florence.... wow. She was so lovely from the moment we first contacted her, and was very helpful sending us some of her repertoire to select some music. We requested a couple of songs Donata hadn't played before and nothing was too much to ask. On the wedding day our guests were blown away and we couldn't have asked for better. Donata was utterly fantastic! Not only did she travel to play at our wedding, she was just so lovely all the way through, she checked in with us before her set and stayed to enjoy some more time after it. If you are considering booking Donata to play ... do it, you will not be disappointed!"
Bel Greco
"Interview with Christiana Theofanous for Kalithea Press, in cooperation with Kalithea Radio and Galaxias FM 92.1 Fokida
1. Mr Yannis Apostolidis, for many years you lived and worked professionally in England. What led you to choose life abroad, and how did this long journey shape your life and your artistic path?
My decision to leave for England in 1995 came from my need to develop musically and to discover new horizons. I had already gained significant experience in Greece. From September 1989, when I settled in the country, I began working as a bassist in music venues, while at the same time searching for different ways to express myself artistically.
In 1994 and 1995 I took part as lead singer in a musical theatre production at Mylos Club in Thessaloniki. In 1994, I also recorded an album with English lyrics, with a rock band, at the Papazoglou studio.
When my work with Mylos Club ended, I felt that I had to take the next step. I wanted to test my abilities in a different environment, to come into contact with other musical cultures and to broaden my possibilities.
So, in 1995, I left for London, where I lived until 2002. Those years were a decisive chapter of my life. I worked as a singer, played saxophone and flute, and got to know a multicultural musical environment at first hand.
My path was not always easy, but it taught me to persevere, to adapt and not to rest on my laurels. I believe that an artist must remain in constant search. Music is not a road you learn once and then it is finished; it is a continuous process of discovery.
2. We know that you also passed through the world of street music, where you managed to create a complete musical sound, essentially building a whole music band by yourself, with the help of the right equipment. At the same time, you perform songs in many languages. How did this experience begin, and what did direct contact with the public teach you?
Street music was a wish I had had for many years. When I lived in London, I was not given the opportunity to try it, since from the very first moment I worked as a singer in bars and restaurants. At the same time, I played saxophone and flute and took part in jam sessions in the pubs of my neighbourhood, where I had the chance to develop through live music and collaboration with other musicians.
In the end, I fulfilled this wish two summers ago, here in Chalkidiki. It was a special experience for me, because I managed to try something I had been thinking about for years.
With the help of the right equipment, I can create a complete musical sound, giving the impression of a whole band while I am alone. This requires technical knowledge, preparation and constant concentration.
Street music, however, has another dimension. You come into direct contact with people who may not know you at all. There is not necessarily the presentation of an organised stage or the expectation of a particular show. People stop, listen and react spontaneously.
What interests me most is communication. By performing songs in different languages, I can reach people with different cultural references. Music has this magical quality: even when we do not understand all the words, we can feel the emotion.
3. England is a country with a multicultural environment and diverse musical influences. What was your experience there as a Greek singer? What difficulties did you encounter, and what opportunities were given to you to develop artistically?
London was a great school for me. From the very first moment I worked as a singer in bars and restaurants, while at the same time playing saxophone and flute. I often took part in jam sessions in the pubs of my neighbourhood, where I came into contact with musicians of different influences and developed both my vocal abilities and my skills as an instrumentalist.
My everyday life, however, had a difficult side. In the mornings I worked part-time in a sandwich shop in the City of London. I washed food containers and prepared sandwiches, while in the evenings the stage awaited me. It was a reality that demanded hard work and discipline.
In 1998 I started postgraduate studies in music teaching at Middlesex University. Unfortunately, I did not manage to complete them, as my professional commitments forced me to work in the evenings. It is something I still think about with regret, but at the time I had to meet the needs of my life and my work.
That same year I took part as a flautist on the album Kingsize by Boo Radleys, playing flute on two songs. My name, Yannis Apostolidis, is printed on the album cover. It was an important experience for me, and I wished for this collaboration to continue.
England taught me that talent is important, but that it is not enough on its own. It requires perseverance, consistency, professionalism and the willingness to make the most of every opportunity. Above all, I learned not to give up on music, even when the circumstances of life demand great personal sacrifices.
4. During your time abroad, you also found yourself in Saint Petersburg, where you performed concerts and professional collaborations. Would you like to share with us a little of the atmosphere of those performances? How did the audience welcome you, and what do you keep from this experience that stands out?
Saint Petersburg is an important chapter of my musical journey. From 2007 to 2010 I travelled there during the winter season together with my friend and collaborator, the keyboardist Giorgos Apazidis, performing concerts and professional collaborations.
It was a different experience from that of England, as we came into contact with another cultural environment and with people who had different musical references. For a musician, such experiences are valuable, because they make you remain open, observe and adapt.
What I keep from that period is the value of collaboration and of live musical communication. When you go on stage, it is not enough to perform a song correctly. You need to create a connection with the audience and convey the emotion of the interpretation.
Music gave me the opportunity to work in different countries and to meet people I might never otherwise have met. This ability to communicate beyond borders is one of the things I value most in my artistic path.
5. When a Greek artist performs far from their homeland, music often takes on a special emotional character. Did you notice this at your concerts abroad? How does the audience's relationship with Greek song express itself, especially when they are far from Greece?
I believe that Greek song carries a special emotional weight. For Greeks who live far from their homeland, a familiar melody can awaken memories, recall family moments and bring them mentally closer to their place.
Music works like a bridge between the present and our memories. It can remind us of people, places and moments that have left their mark on our lives.
At the same time, I believe that the power of song is not limited by language. A person who does not speak Greek can be moved by an interpretation, feel the melody and grasp the emotion conveyed by the singer.
As a musician, this is something that interests me particularly. I want to be able to communicate with different people and use my voice to convey emotions that are common to all of us.
Greek song has a rich tradition, intense melodic quality and a particular expressive power. I believe it deserves to travel even further, while preserving its authenticity and its identity.
6. Apart from live performances, your artistic path includes collaborations, professional contacts and many different activities. Which do you consider the most important moments of your journey in England and Saint Petersburg? Were there people or collaborations that substantially influenced your path?
If I had to single out certain milestones, I would first mention my experience in London, where I had the opportunity to develop as a singer and instrumentalist through daily work and my participation in musical gatherings.
The album Kingsize by Boo Radleys holds a special place, where I played flute on two songs in 1998. The fact that my name, Yannis Apostolidis, is printed on the cover is a specific and important memory from that period.
Another milestone was 2002, shortly before I returned to Greece, when I created my personal album Vacant Alleyways. It includes six of my own songs, produced by me. I had the feeling that a major cycle of my life was closing, and I wanted to leave behind a work that expressed me personally.
After my return, I worked for about ten years with my friend and keyboardist Giorgos Apazidis, with whom we worked in hotels in Chalkidiki. The pace was demanding, as we worked seven days a week. At the same time, we travelled together to Saint Petersburg during the winters of the 2007–2010 period.
Every collaboration has its own value. When you share the stage with other musicians, you learn to listen, to collaborate and to respect each person's different approach. These experiences are just as important as personal achievements, because they shape you both as an artist and as a person.
7. After so many years abroad, do you believe that the way an artist perceives music, the audience and themselves changes? What did this long experience teach you?
Undoubtedly, life in different countries affects the way you see music and the world. When you come into contact with different cultures, sounds and people, you understand that there are many paths to express yourself artistically.
My own path included different roles. I started as a bassist, took up singing, played saxophone and flute, took part in groups and collaborations, and created my own songs. Each experience offered me something different.
I also learned that music requires continuous work. Knowledge or talent alone is not enough. You need to remain active, try new ideas and accept that there is always something more to learn.
As a person, life abroad made me rely more on my own strengths and face difficulties with greater composure. At the same time, it helped me understand how important the balance is between professional ambitions and our personal responsibilities.
Today, as a music teacher at the Child Creative Occupation Centre in Nea Moudania, I see music from a different side: as a means of education, creativity and personal development.
I believe that an artist truly evolves when they do not stop learning, but also when they find ways to pass on what they have gained through their path.
8. Life far from the homeland has its beautiful moments, but also difficulties that are not always visible to others. How did you experience this distance? Were there moments when you missed Greece particularly, or when you felt that music helped you keep your connection with it alive?
Life abroad has many sides. On the one hand, it gives you the opportunity to meet new people, to work in different environments and to discover possibilities that"
Sylvia Catasta
"Heels Belles is the debut album of the D4rky Quartet, an all-female string quartet with flute of Mozartian influence, founded by the composer Sylvia Catasta, conductor and historical assistant of Ezio Bosso, with the collaboration of Saturnino and Alessio Bertallot.
D4arky Quartet is made up of four musicians with a very solid classical training but used to having a complete dialogue with every musical genre: Sylvia Catasta on flute; Silvia Mangiarotti on viola; Adriana Ester Gallo on violin; Yuriko Mikami on cello.
Alessio Bertallot is the vocal featuring on this album who transcribes the great evergreens of international classic rock for quartet, transforming them into a language that lies between cultured song and progressive."
Organista e voce Lugano
"We entrusted Organista e Voce Lugano with the music for our wedding ceremony, and they made it truly unforgettable.
From the beginning, they were incredibly helpful and responsive, guiding us through the selection of pieces and offering valuable advice. They understood exactly what we wanted and translated it into a perfect musical program.
On the day of the wedding, their performance was simply breathtaking. The organ filled the space with a powerful and elegant sound, while the voice added a layer of emotion that touched everyone present.
Each moment of the ceremony was enhanced by their music, from the entrance to the final exit. Everything was perfectly timed and executed with great care.
Our guests were deeply impressed, and many complimented us on the music. It made a huge difference and contributed significantly to the atmosphere of the day.
If you are looking for a professional, talented, and reliable musical service, Organista e Voce Lugano is an excellent choice."
Hilóczki Zsuzsanna
"I highly recommend Zsuzsi for any event! We booked her to play background music for an outdoor wine-tasting event at a vineyard, and she was absolutely wonderful. She is remarkably talented and flexible musician with a lovely, elegant presentation. Even though it was an outdoor setting with unpredictable conditions, she brought all her own gear and made sure the sound was flawless. Switching between the saxophone and the flute, she created a magical athmosphere that gave our event a wonderful extra touch. Her playlist was spot on, and everyone loved it. I am already looking forward to working with her again!"