Italian guitarist Nicolò Spera is a versatile chamber musician, in 2012 Spera co-founded the ensemble Duo Chagall with violinist Jenny Diaz. Previously, he worked on an unusual chamber music project with clarinetist Andrew Dykema, and together they performed the complete guitar and clarinet repertoire by the late Romantic Viennese composer Ferdinand Rebay.

As a soloist, Spera is one of the few guitarists in the world to perform on both six-string and ten-string guitars, including in his repertoire the extraordinary music of the Franco-Andalusian composer Maurice Ohana. He has given lectures on the music of Ohana at different institutions and festivals, including the Mediterranean Guitar Festival, Arizona State University, and the Conservatorio della Svizzera Italiana.

Thanks to his passion for contemporary music, he has had the privilege of collaborations with composers such as John Drumheller, Ryan Fiegl, and the accomplished Italian conductor Simone Fontanelli, giving premières and performances of their guitar works.

He has won top prizes at several Italian and international competitions and is regularly invited to play in music festivals such as the Strings Music Festival in Steamboat Springs, the Mediterranean Guitar Festival in Italy, and the Sauble Beach Festival in Canada. He performs as a soloist with different orchestras, collaborating with conductors Andrés Cárdenes, Alejandro Gómez Guillén, Cynthia Katsarelis, and Leonardo Vordoni.

In 2011, Spera was appointed to the faculty at the University of Colorado Boulder, where he is Instructor of Classical Guitar. He is also on the faculty of the International Studies Institute at Palazzo Rucellai in Florence, Italy.

In 2013, he founded the University of Colorado International Guitar Festival and Competition, an unprecedented event that attracts prestigious guests, guitar performers, and students from all over the world.

With Soundset Recordings, Spera has published his own transcriptions of Bach’s Cello Suites 4, 5, and 6, for the ten-string guitar. About this recording, cellist Judith Glyde wrote that "it is a refreshing, captivating perspective on these boundless works, and a breathtaking discovery of an unprecedented sound world."