The noted writer Birgit Urmson spends a portion of every
year in a stately Renaissance palace in the historic town
of Barga in Tuscany, together with her husband, John. A
distinguished clientele including authors and musicians
may rent the building's magnificent main storey when the
owners are abroad - see
This year, Birgit Urmson has sent us a brief but vivid description
of some of her experiences at the Opera Barga Festival,
which takes place every year around the feast of Saint Christopher
in July. There is hardly another festival on earth as exclusive
and dimininutive as Barga, having been in the world news
only once, when a German court barred it from performing
Antonio Vivaldis Opera Motezuma. Perhaps Barga will need
the participation of an internationally famous conductor
or composer in order to gain worldwide recognition. However,
we can sense with every word the fascinating, spontaneous
and lively way in which up-and-coming artists leave their
mark at the festival:
Now then, the Barga Opera had a wonderful series of chamber
music concerts. The first one was with the violinist Simone
Bernardini, who is not only a very good musician and charming,
but was also the real impresario of this series. He is making
his career. The actual opera was DA CAPO, a one-act opera by
Giani Gaetano Luporini. Nick Hunt had taken over the stage direction
with success. There is an artist's soul in him. And that may
be the explanation why getting the word out about the festival
leaves something to be desired. The one truly embarrassing thing
is the low number of visitors. This consists chiefly almost
exclusively of foreigners. For years, these faithful followers
have been appalled by the number of empty seats in the opera
house and lament the obvious lack of effective PR. There had
already been talk about a boycott, but the thought of young
professional musicians from all over the world playing before
an empty house induces us every time to buy a ticket after all,
and to become part of the number of about 30, at the most. Fortunately
by the end of the festival the attendance increased. The word
had gone out by that time. And these young musicians are very
inspiring. One quintet consisted of musicians, each of which
came from from a different country, including China and Japan.
Some of them have studied in Berlin, and some of them still
live there.
I have given two
receptions. One for Simone at the beginning and another
one for the opening night of the opera. Especially the
latter turned out to be a magical evening. Up to 100 guests
were crowded into the rooms of our salon. The wine was
poured, the canapés disappeared into hungry mouths
in an instant. Then a wonderful thing happened. The maestro
of the orchestra, Zennerini, asked me if I would like
a serenade. I said yes. He had spotted the grand piano,
which has now finally been restored. The male singers,
two marvellous basses, a baritone and a tenor with a mellow
timbre got into position and sang with all their heart
and soul.
They got out their competition and audition material. There were Figaro,
Leporello singing. Everyone stood around them, fascinated. All this
happened with such effortlessness and playfulness that I got carried
away and sang along. The maestro with his fine sense of hearing then
asked me to sing something. I had just had two successful lessons
with Alison Pearce and I took the plunge right into the middle. My
anxiety disappeared and my voice soared effortlessly up to the high
A. Our musicians consequently assumed that I am a professional singer.
What a beautiful success! The perfect event for the magic Piano Nobile
Correspondent Birgit Urmson
Birgit Urmson
accompanied by her sister
and her husband John Urmson
