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Wednesday 26 August 9 p.m.

Città di Castello, Monumental Cemetery

Multimedial project for Festival 2015 PREMIERE 

Gabriella Zanchi soprano
Leonora Baldelli piano
Corale “Marietta Alboni”
Marcello Marini choir conductor
Maurizio Perugini narrator
Text and history documentation by Alvaro Tacchini
Alberto Brizzi e Marco Capaccioni sound direction – moltimedia

E. A. Mario, “La leggenda del Piave” for choir, soprano and piano

Certain dates in history are unforgettable, among them 1914, when Europe was set alight by a war which soon became worldwide and caused the death of nearly ten million people. Although initially neutral, Italy joined the conflict on 25th May 1915, declaring war on Austria-Hungary.
Without wishing to enquire into the motives for the war – because every war is essentially unjust and deplorable – the new multimedial project of the Festival gives a voice to the Tiber Valley and to those of its inhabitants who experienced the hopes and fears of the War, and to the ideals of a period which has had a profound effect on our life today.
The words written in diaries, letters and memoirs by those people, with choral music and popular songs now part of our traditional repertoire, form a tapestry in which images and music of the period are woven together in an original reconstruction and elaboration of live music.

Bregovic HR

Thursday 27 August 9 p.m.

Città di Castello, Garden of Palazzo Vitelli at Sant’Egidio


Goran Bregovic and The Wedding&Funeral Band

Goran Bregovic voice, guitar, synthesizer
Muharem Redžepi goc (traditional bass drum), voice
Bokan Stankovic first trumpet
Dragic Velickovic second trumpet
Stojan Dimov saxophone, clarinet
Aleksandar Rajkovic first trombone, glockenspiel
Milos Mihajlovic second trombone
Ludmila Radkova Trajkova voice
Vanya Todorova Vakari voice

Goran Bregovic was born in Sarajevo in 1950, to a Serbian mother and a Croat father. This morsel of information about the self-taught musician is sufficient to carry one’s memory back 100 years, to the outbreak of the First World War. The pretext was the assassination of the heir to the throne Franz Ferdinand, immediately causing the collapse of the fragile balance of power in Europe. The causes, at least partly, lay in the delicate situation in the Balkans, with the Serbian minority, to which the assassin Gavrilo Princip, fiercely ‘irridentista’, belonged; and the Croatian component which aimed at a federal system. These contrasting forces led to the breakdown of what at the start of the 20th century was the magnificent and multi-ethnic Austro-Hungarian Empire.
Not only Bregovic’s DNA but also his style and his music reflect the multi-cultural character of the Empire. Pop-rock and classical music, Byzantine litanies and Balkan folk, snatches and fanfares from villages – mixed together with an aesthetic Western gloss. The thread which binds all these ‘splinters’ is Bregovic’s skill in sublimating the traditional material and transforming it through a contemporary language into a surreal, ironic and lyrical dimension, easily understood in any latitude.


Festival delle Nazioni 2014
 I Vincitori del concorso europeo per giovani cantanti lirici del Teatro Lirico Sperimentale di Spoleto "A.Belli"
Chiara Isotton, Chiara Tirotta, Marco Roncinai, Alee Roupen Avedissian, Biagio Pizzuti

Teatro dei Ricomposti

Friday 28 August ore 9 p.m.

San Giustino, Courtyard of Bufalini Castle

The “Joie de Vivre” in Europe, before the hell of the Great War

Written, directed and performed by Vincenzo Failla

Rosaria Fabiana Angotti soprano
Beatrice Mezzanotte mezzosoprano
Marco Rencinai tenor
Alec Roupen Avedissian baritone
Lorenzo Orlandi piano

Jacques Offenbach, Waltz from La Belle Hélène
Extract from God save the queen
Franz Lehár, “Tu che m’hai preso il cuor” from Das Land des Lächelns
Emmerich Kálmán, Aria by Principe Rajas from Die Bajadere
Franz Lehár, Aria by Vilja from Die lustige Witwe
Carlo Lombardo, “Spesso a cuori e picche” from Madama di Tebe
Emmerich Kálmán, “Spesso il cuore s’innamora” from Die Csárdásfürstin
Carlo Lombardo, “Frou-Frou del Tabarin” from La Duchessa del Bal Tabarin
Virgilio Ranzato, “O Cin Ci La” from Cin Ci La
Franz Lehár, “Tace il labbro” from Die lustige Witwe
Ralph Benatzky, “Occhioni blu” from Im weissen Rössl
Carlo Lombardo/Virgilio Ranzato, “Fox della luna” from Il paese dei campanelli / Vincent Youmans, “The per due” from No, No, Nanette
Paul Abraham, “Tangolita” from Ball im Savoy (Ballo al Savoy) / Alfredo Mazzucchi, L’innamorato pazzo
Ralph Benatzky, Valzer del Cavallino from Im weissen Rössl (Al Cavallino Bianco)
Emmerich Kálmán, “Ma senza donne” from Die Csárdásfürstin / Franz Lehár, “È scabroso” from Die lustige Witwe / Johann Strauss Jr., Wiener Blut

Produced by Teatro Lirico Sperimentale di Spoleto “A. Belli”


During the ‘Belle Époque’ everything seemed to be possible. It was a golden age, lasting less than thirty years, which encouraged art, the economy, social wellbeing and a dream of a new century of peace and development. This was the moment of the Universal Exhibition, the great Atlantic liners, the Olympics, the first skyscraper in Chicago and Henry Ford’s first assembly line; while in everyday life, the invention of razor blades and fountain pens, department stores, telephones and tramcars.
That atmosphere of enthusiasm has as its sound track the carefree sparkling gaiety of the operettas of Franz Lehar, Emmerich Kalman, Jacques Offenbach and Johann Strauss junior. We shall hear some of these, thanks to the voices of winners of the Song Contest of the Experimental Lyric theatre of Spoleto, which for over sixty years has launched some of today’s top singers on their international careers.



Saturday 29 August 9 p.m.

Citerna, San Francesco Church

Ilia Kim piano
Introducted by Piero Rattalino

Aleksandr Skrjabin, Sonata No. 9 in F major Op. 68
Aleksandr Skrjabin, Etude in C sharp minor Op. 2 No. 1
Aleksandr Skrjabin, Etude in E major op. 8 n. 5
Aleksandr Skrjabin, Mazurka in E minor Op. 25 No. 3
Aleksandr Skrjabin, Sonata No. 4 in F sharp major Op. 30
Aleksandr Skrjabin, Feuillet d’album in E flat major Op. 45 No. 1
Aleksandr Skrjabin, Poème Op. 59 No. 1
Aleksandr Skrjabin, Vers la flamme Op. 72
Fryderyk Chopin, Barcarole in F sharp major Op. 60
Fryderyk Chopin, Mazurka in C sharp minor Op. 63 No. 3
Fryderyk Chopin, Nocturne in E flat major Op. 55 No. 2
Fryderyk Chopin, Waltz in C sharp minor Op. 64 No. 2
Fryderyk Chopin, Grande Polonaise brillante précédée d’un Andante spianato in E flat major Op. 22

Alexander Scrjabin was the most visionary of Russian composers and the most mystical among philosophers. To pay tribute to him in the centenary of his death, the pianist Ilia Kim presents a programme of piano music from his earliest late-romantic ventures to his 20th century compositions in which he experimented with harmony to the point of atonalism. It will be interesting to hear, in the course of a single evening, compositions by Scrjabin and by Chopin, the composer from whom Scrjabin drew his major inspiration, enabling us to appreciate in depth the way in which the Russian composer’s art evolved in an original style while maintaining a strong affinity with that of the Pole.
In Scrjabin’s last years music and philosophical conceptions often coincided. This was the case with ‘Vers la flamme’ of 1914, in which the composer wished to express the theory that one day the earth would be destroyed by heat: in this music an increasingly terrifying blast of arpeggios and repeated notes confounds any kind of harmonic and tonal reference.
The concert will be enriched with the introduction by Piero Rattalino, musicologist and one of the great experts on the history of music for this instrument.

On the centenary of the death of Aleksandr Skrjabin


Auser Musici

Sunday 30 August 9 p.m.

Umbertide, San Francesco Church


Auser Musici Ensemble
Andrea Vassalle violin
Valeria Brunelli cello
Riccardo Cecchetti fortepiano
Carlo Ipata flute and conductor

Christian Joseph Lidarti, Sonata for flute and harspichord No. 2 in D major
Franz Joseph Haydn, Trio No. 29 in G major for fortepiano, flute and cello Hob:XV:15
Wolfgang Amadeus Mozart/Johann Nepomuk Hummel, Concerto No. 20 in D minor for fortepiano, flute, violin and cello K466


The invention of the fortepiano in Florence can be dated between 1697 and 1700 and is attributed to Bartolomeo Cristofori, a spinet player in the service of Ferdinando dei Medici.
The instrument, with its revolutionary principle of sound produced by percussion on cords, did not meet with success initially. To discover the first signs of interest we have to wait until 1732, when Ludovico Giustini of Padua published in Florence the first ‘Sonatas for spinet forte and piano, commonly called hammers’, and then in 1747, when the elderly Johann Sebastian Bach particularly admired the ‘new’ instrument which he had an opportunity to try while visiting Frederick the Great.
Despite the fact that it is considered by many simply as an ancestor of the pianoforte, it cannot be denied that the fortepiano played a fundamental role in the development of European music, due especially to its use by the great classical Viennese composers. The programme highlights three typical examples of the early repertoire for this instrument, inserting them in an imaginary journey between Tuscany and Vienna.



Monday 31 August 6 p.m.

Sansepolcro, Santa Chiara Auditorium

Michele Marasco flute
Paolo Taballione flute
Marta Cencini piano
Trio d’archi dell’UmbriaEnsemble
Franco Mezzena violin
Luca Ranieri viola
Maria Cecilia Berioli cello

Ludwig van Beethoven, Serenade in D major Op. 41 for flute and piano
(Michele Marasco flute)
Ferruccio Busoni, Duo in E minor Op. 43 for two flutes and piano
Wolfgang Amadeus Mozart, Quartet in C major for flute and strings No. 3 K.Ahn171
(Michele Marasco flute)
Wolfgang Amadeus Mozart, Quartet in D major for flute and strings No. 1 K285
(Paolo Taballione flute)


One of the starting points for reflection presented by this edition of the
Festival is listening to the music of the great composers of the classical tradition. The Viennese musicians between the end of the 19th century and the beginning of the 20th had to face the challenge of moving on from an extraordinary and elaborate past, in no way a simple progression but a painful one, deeply and stressfully experienced. The concert offers an example illustrative of this challenge by presenting music for the flute by the great composers of the first Viennese school alongside a piece for two flutes by Ferruccio Busoni of 1880.
Marasco and Taballione, both exceptional musicians, alternate with each other in interpreting some pearls of the repertoire for flute and strings or for flute and pianoforte: from the Beethoven Serenade op. 41, simple and elegant enough to be dubbed a Beethovenian ‘Eine Kleine Nachtmusic’; to the two Mozart quartets. Moving on a century, the two flautists converse in their interpretation of ‘Duo’ by Busoni, who, from his student days and throughout his brilliant international career as composer and performer, maintained a close and sometimes fraught relationship with the great capital of the Empire.

Johann Strauss Ensemble

Monday 31 August 9 p.m.

Città di Castello, San Domenico Church

Russell McGregor violin and conductor
Johann Strauss Ensemble

Eduard Strauss, Mit Extrapost Polka veloce op. 259
Johann Strauss (Sohn), Wiener Blut Valzer op. 354
Johann Strauss (Sohn), Banditen-Galopp Polka veloce op. 378
Josef Strauss, Aus der Ferne Polka-mazurca op. 270
Johann Strauss (Sohn), Vom Donaustrande Polka veloce op. 356
Johann Strauss (Sohn), Rosen aus dem Süden Valzer op. 388
Johann Schrammel, Wien bleibt Wien Marcia
Josef Strauss, Dorfschwalben aus Österreich Valzer op. 164
Johann Strauss (Sohn), Leichtes Blut Polka veloce op. 319
Philipp Fahrbach der Jüngere, Im Kahlenbergerdörfel Polka francese op. 340
Johann Strauss (Sohn), Tritsch-Tratsch-Polka Polka op. 214
Johann Strauss (Sohn), An der schönen blauen Donau Valzer op. 314

It is impossible to pay tribute to Austria without including the Strauss legacy. The lightheartedness of late 19th century Viennese music, still today the symbol of Austrian culture, is presented by the principal musical group for this repertoire – the Johann Strauss Ensemble, founded in 1985 by several players of the Bruckner Orchestra of Linz.
The Ensemble is known throughout the world for the quality of its performance and the verve of its concerts. They play in a style known as Stehgeiger, chosen by Strauss, which requires the conductor, in this case the excellent English violinist Russel McGregor, to conduct and perform at the same time. McGregor, whose personal interpretation of the entire repertoire of the Strauss family is particularly admired, is also since 1997 the conductor of the Schonbrunn Palace Orchestra and regularly plays at the Vienna Musikverein.
The programme of waltzes, polkas, mazurkas and marches by Johann Strauss father and sons Johann, Eduard and Josef is enriched with the inclusion of interesting works by their contemporary and less known (at least in Italy) composers, namely Johann Schrammel and Philipp Fahrbach junior.


Tuesday 1 September 6 p.m

Città di Castello, Ex Seccatoi del Tabacco, “Non ama il nero” Hall

Matteo Cesari flute

Complete music for solo flute by Salvatore Sciarrino EUROPEAN PREMIERE

L’orizzonte luminoso di Aton
All’aure in una lontananza
Immagine fenicia
Venere che le Grazie la fioriscono
Addio case del vento
Fra i testi dedicati alle nubi
Come vengono prodotti gli incantesimi?
Canzona di ringraziamento
Morte Tamburo
Lettera agli antipodi portata dal vento
L’orologio di Bergson


Ex Essiccatoi tabacco

Tuesday 1 September 9.30 p.m

Città di Castello, Ex Seccatoi del Tabacco, “Non ama il nero” Hall

Quartetto Prometeo
Giulio Rovighi violin
Aldo Campagnari violin
Massimo Piva viola
Francesco Dillon cello
Matteo Cesari flute

Salvatore Sciarrino, Trovare un equilibrio, è necessario? For flute and string quartet PREMIERE
Commissioned by Festival delle Nazioni
Ludwig van Beethoven, Quartet for strings in C sharp minor No. 14 Op. 131
Ludwig van Beethoven, Quartet for strings in C minor Op. 18 No. 4

 Salvatore Sciarrino boasts of being ‘born free’ and not in a school of music. He began to compose at 12 years old, self-taught; his first public concert was in 1962. However, Sciarrino considers his work before 1966 an immature apprenticeship, because it was after that date that he discovered his personal style. Something truly individual characterises this music: it induces a different mode of listening, an emotive recognition of reality and of oneself. And after forty years the immense catalogue of his compositions is still in a phase of surprising creative development.
In the centenary of the birth of Alberto Burri, the Festival delle Nazioni has commissioned from Sciarrino a new composition for flute and string quartet, a formation that the Sicilian composer, a citizen of Città di Castello since 1983, confronts for the first time.
The execution by Matteo Cesari and the Prometeo Quartet of this work represents a dialogue with Burri’s works in the ‘Non ama il nero’ cycle, arranged by the artist himself in the 1990s in the hall of that name in the Ex-Seccatoi del tabacco, a short distance from the centre of Città di Castello.

On the centenary of birth of Alberto Burri


Wednesday 2 September 9 p.m.

Città di Castello, San Domenico Church

Readings from Die letzten Tage der Menschheit by Karl Kraus

Text by Massimo Lo Iacono

Alessio Boni narrator
Streichquintett Wiener Kammersymphonie
Fritz Kircher violin
Cornelia Löscher violin
Wolfram Fortin viola
Sergio Mastro cello
Felipe Medina double bass


Gustav Mahler, Bedächtig, nicht eilen, recht gemächlich from Synphony No. 4 in G major
Hans Gál, 5 Intermezzi Op. 10
Erich Wolfgang Korngold, Märchenbilder (adaptation for string quintet by Josip Maticic)
Ernst Krenek, Sieben leichte Stücke Op. 146


Vienna at the end of the 19th and the start of the 20th century experienced a period of manifold tensions, which exploded in the violence of the First World War. The ideals of scientific and industrial progress, persisting since the Belle Epoque, now had to exist alongside a pronounced feeling of crisis, which would become reality in a few years’ time, with the disintegration of the Austro-Hungarian Empire. In this scenario, Vienna in particular, more than any other European capital, recognised the end of an era and of the philosophical, historical and political certainties inherited from the 19th century.
The concert by the Wiener Kammersymphonie string quartet presents several examples of the music written and listened to in this period, drawing attention especially to the sensitive composers who succeeded best in interpreting the atmosphere of search for a new vision of life, a feature of this difficult moment in history. These examples include one movement of Mahler’s Fourth Symphony, written between 1899 and 1901; Korngold’s Marchensuite , written between 1910 and 1920; and Gàl’s five intermezzi written in 1914.
Alessio Boni, the popular actor, reads some pages of The last Days of Humanity , the satirical masterpiece written by Kraus during the First World War. Lucid and visionary at the same time, Kraus succeeded better than anyone else in describing the horrors of war.