Among Berio's many works are Sequenzas I-XIII (1957-94), each a virtuoso piece for a different solo instrument and one (1966) for the soprano voice; Circles, settings of poems of E. E. Cummings for mezzo-soprano, harp, and percussion; several pieces with texts taken from James Joyce's work; Visage (1961), for electronically manipulated voice; Sinfonia (1968), for orchestra and voices; Opera (1970, rev. 1977), for mixed media; La vera storia (1982), an opera with acrobats and a wordless soprano; Ofanim (1988), for voices, instruments, and electronics; and two operas, Outis (1996) and Cronaca del Luogo (1999). In the late 1980s Berio, who was also an influential teacher, founded the Centro Tempo Reale, a Florence new music center for research, production, and training.
In Italian an epifania (plural: epifanie, with both forms accented on the second "i") indicates a sudden spiritual manifestation (See: Epiphany). Berio composed his Epifanie between 1960 and 1963, and published a revised version in 1965. It consists of seven short orchestral pieces, and five vocal pieces. Berio stipulates the possibility of performing these in ten different sequences. When the American premiere of Epifanie took place in Chicago on July 23, 1967, he said:
The score calls for an unusually large orchestra: 16 woodwinds; 6 horns, 4 trumpets and 4 trombones plus tuba, full strings, including three violin sections, and a percussion section calling for a number of performers who address themselves not only to glockenspiel, celesta, vibraphone and marimba but also to spring coils, tamtam, tom-tom, temple blocks, wood blocks, caisse claire, bongos, timpani, cowbells, chimes, claves, guiro, censerros, cymbals, snare drum, tambourine, etc.