[27] The partnership with Marcoaldi has continued, bringing about such works as Terra comune (which, at the request of Luciano Berio, inaugurated Rome's Auditorium Parco della Musica in 2002),[28][29][30] Tre Veglie commissioned by the Salzburg Festival (conducted in 2000 by Ivan Fischer, with Anna Caterina Antonacci),[31] and the second opera for the Teatro alla Scala, Teneke (2007, chosen for the That's Opera event, on the occasion of the bicentennial of Ricordi, curated by Jean-Jacques Nattiez)[32] conducted by Roberto Abbado, stage direction by Ermanno Olmi, with set design by Arnaldo Pomodoro.

[39] Both the symphonic Mare che fiumi accoglie,[40] conducted by Antonio Pappano at the Parco della Musica in Rome, and the opera La madre del mostro, based on a libretto by Michele Serra, date back to 2007.

[43] Again in collaboration with Amos Oz, he composed the melologue D’un tratto nel folto del bosco, based on a text by Michele Serra from the novel of the same name (Nestled deep in a thick forest) by the Israeli writer, for the Festival Mito (which dedicated a monograph - the first Italian - to Vacchi, in 2014)[44] of 2010.

[45][46] The melologue also travelled to Paris, in 2014 and in a French version (Soudain dans la forêt profonde, Comédie française, Salle Pleyel), with a CD by the Ministère de l'Éducation Nationale, designed for schools in France.

[47][48][49][50] In 2015, he composed a symphonic poem, Der Walddämon, again inspired by Nestled Deep in a Thick Forest by Amos Oz and commissioned by Riccardo Chailly, who conducted it at the Gewandhaus in Leipzig.

[51][52] In the same year, Vacchi directed the Atelier Opéra en création at the Aix-en-Provence Festival, where his works were performed between 2014 and 2015, among which Dai calanchi di Sabbiuno conducted by P.Järvi in a concert dedicated to the memory of P.Chereau.

[53] In 2016 his ninth opera came out, Lo specchio magico,[54] based on a text by Aldo Nove (staged at the Maggio Musicale Fiorentino, conducted by John Axelrod)[55] and Vencidos for voice and orchestra commissioned by the Festival Internacional Cervantino, in Mexico, for the Miguel de Cervantes celebrations.

Another similar piece was Dai calanchi di Sabbiuno for chamber ensemble, which was composed for the Commemoration of the 50th anniversary of the Italian Resistance (Teatro alla Scala, 1995) and which has been performed more than 100 times around the world, also in the version for full orchestra requested by Claudio Abbado.

[77] Luoghi immaginari were composed between 1987 and 1992 for various instrumental formations - performed many times, conducted also by Daniel Harding in Salzburg Mozarteum[78] or in the Festival of Italian Contemporary Music in Beijing -[79] and was included, along with other works by Vacchi, in the soundtrack to Il Mestiere delle Armi (The Profession of Arms) by Ermanno Olmi.

"[89] Claudio Abbado defines his style "complex and not derivative, and capable of reaching the listener"[90] and Jean Jacques Natties declares that his music "can furnish a sense of direction for composers in this new century.