30th august
Echoes of the Russian Revolution
6,00 pm

Città di Castello, Loggiato della Pinacoteca comunale

Echoes of the Russian Revolution

Enrico Paci texts and voice
Simone Nocchi piano
Angelo Benedetti original music and sound design

SERGEJ PROKOF’EV Visions fugitives op. 22

a collaboration with Fondazione Archivio Diaristico Nazionale di Pieve Santo Stefano

The first World War is the main theme underlying the original proposals of the last three years of the festival. Two years after the very much appreciated Images and sounds of the first world war, this year performance is based upon an untold episode of the war: the one of Italian soldiers sent to post-revolution Russia in support of austrian-hungarian troops to fight the bolshevik army.
The Russian revolution is an important turning point of the conflict and although its consequences have been deeply examined, very little has been said about these soldiers who were ,often unconsciously , affected by this event.
Different stories came out of the revolution for the Italians in the far east.
The texts have been taken from diaries kept by Fondazione Archivio Diaristico Nazionale of Pieve Santo Stefano (which we thank for collaboration) and edited by Enrico Paci, the performing voice.
The tales are accompanied by Visions fugitives by Prokof’ev played on the piano by Simone Nocchi at the piano and by original electronic music by sound designer Angelo Benedetti.


30th august 2017
9,00 pm


Umbertide, Teatro dei Riuniti


Winners of the contest “Concorso Comunità Europea 2017 per giovani cantanti lirici del Teatro Lirico Sperimentale di Spoleto «A. Belli» “
Mariangela Marini JessieAnnapaola Pinna Bessie
Amedeo Di Furia CharlieMarco Rencinai Billy
Paolo Ciavarelli BobbyGiordano Farina Jimmy

Corrado Valvo piano
Giorgio Sangati direction
Alberto Nonnato scenes

coproduction Festival delle Nazioni and Teatro Lirico Sperimentale di Spoleto «A. Belli»

Mahagonny Songspiel takes shape in 1927 following one of the most interesting and revolutionary meetings of musical theatre history: the one between Bertolt Brecht and Kurt Weill.
The writer and playwriter asked Weill to produce a composition based upon some of his poetry so to obtain an experimental play, a workshop of style which years later in 1930 would become Aufstieg und Fall der Stadt Mahagonny. It is therefore a somewhat raw material whose discontinuity some years later will lead Brecht to break with every form of scenic and perceptive continuity.
Mahagonny marks the beginning of the attempt to break apart conventions and to create a “culinary “ product . Brecht used such words to highlight the ingredients of the performance; he inaugurated a new form of addressing the audience, demanding its active role not a passive one. The absurdity of conventions leads to a surreal product.
Mahagonny Songspiel will be introduced by a prologue of songs composed by Kurt Weill and Hanns Eisler and texts by Brecht


31st august
9,00 pm

Città di Castello, Chiesa di San Domenico


Ute Lemper voice
Vana Gierig piano
Victor Villena bandoneon



Kabarett played a crucial role in the German musical culture between the two world wars. It combines theatre, comedy, songs and dance.

The first german Kabarett was founded in 1900 by Ernst von Wolzogen, but it blossomed in the ‘20s and ‘30s thanks to a renewed political freedom which coincided with a new cultural awakening in Germany. Leading figures like the actor and Kabarett peformer Karl Valentin influenced the musical theatre until the ‘70s. Ute Lemper, an emotional and unique voice, together with two extraordinary musicians will revisit the world of Kabarett and the music by Weill, Hllaender, Schiffer, Spoliansky, Brecht and Eisler, trying to relive the revolutionary spirit of that golden age before it turned into a destructive mightmare.


1st september
Prometeo quartet
9.00 pm

Città di Castello, Collezione Burri – Ex Seccatoi del tabacco

Prometeo quartet

Giulio Rovighi violin• Aldo Campagnari violin
Massimo Piva viola • Francesco Dillon cello


From The exercise of extravagance, studies for string quartet from Domenico Scarlatti
XIII – Pastorale (Sonata in C major K. 513)
VII – Allegro (Sonata in E major K. 531, L. 430)
IX – Allegro (Sonata in B minor K. 27, L. 449)
IV – Andante comodo (Sonata in E major K. 380, L. 23)
VIII – Vivo (Sonata in B major K. 262, L. 446)

String Quartet n. 7

String Quartet in F major

“With the quartet the myth of equality, equidistance, of a cross and rotating dialogue comes true; the listener stays exactly in the middle”.
These are the words used by Salvatore Sciarrino to describe the string quartet who will celebrate the 70th birthday of the master who received in 2016 the lifetime achievement Leone d’oro by the Venice Biennale.
The quartet could only be Prometeo, considered by the sicilian composer an absolute must for the perfomance of his music. To celebrate such anniversary and to pay a tribute to one of the world’s most important and appreciated composers the Festival has chosen once again the Burri museum at the Seccatoi the same venue of the concert (music by Sciarrino) dedicated to the Burri anniversary two years ago.
The programme combines two pages for string quartets taken from the Sciarrino repertoire (there is also e selection of studies from Exercice of extravaganza by Domenico Scarlatti) , with the only string quartet piece by Ravel.
The result is an accord between the musical research by Sciarrino and the timbral and heterogeneous one by Ravel.


2nd september
«…e immediatamente diventai sapiente»
6.00 PM

 Sansepolcro, Auditorium Santa Chiara

«…e immediatamente diventai sapiente»
The unknown language of Hildegard von Bingen
text by Guido Barbieri
music by Francesco Maria Paradiso  
based on an idea by Federica Lotti

Ipazia, àchranton àstron for flute/voice, live electronics (2012)
music by Luigi Sammarchi

Emanuela Faraglia voice
Pamela Lucciarini soprano
Federica Lotti flute
Stefano Alessandretti live electronics
Massimo Marchi live electronics and sound direction


commissioned by Festival delle Nazioni
coproduction Festival delle Nazioni and Agon Acustica Informatica Musica

«…e immediatamente diventai sapiente» is proof of how much the Festival is sensitive to new forms of musical and original productions, and open to the most interesting artists of today. This year’s performance is a coproduction with AGON Acustica Informatica Musica,  center of production and research, based in Milan. It started its activity in 1990 and it is characterized by using digital  technology in musical and artistic production.
This new production tells the story of Hildegard von Bingen, a fascinating religious figure of the Middle Age who was also writer, musician, composer, philosopher, healer, naturalist and much more. It is a tale told in electronic music played by a solo flute. The original music has been commissioned by the Catania born composer Francesco Maria Paradiso, texts are by music critic Guido Barbieri.


2nd september
9.00 pm

San Giustino, Cortile del Castello Bufalini


Ensemble Umberto Giordano
Marco Moresco piano • Dino De Palma violin
Luciano Tarantino cello • Ripalta Bufo soprano
Leonardo Gramegna tenor

special guest: Giampiero Mancini

Beethoven may well be the most renowed romantic composer thanks to his genius and his complex and elusive personality.
Much of his huge repertoire is known and performed regularly all over the world, but there still are a few lesser known pieces, which give a different view of the great symphonist, and that can ce discovered with this performance.
Beethoven was a free spirited man, little proned to compose pieces by necessity or commission. Probably for need of money he accepted Georg Thomson’s request for a trio and voices’ arrangement of the popular songs of different nationalities. From this came a minor peculiar production which is both spontaneous and not demanding. The composer succeeds in combining different and distant realities: from the unrestrained mountain yodelings of the tyrolean songs to the Spanish-like bolero of Paloma blanca, to the oriental atmospheres of the Russian songs to the Italian popular style of the Canzonetta in Venetian slang.



3rd september
contest Burri /h5>6.00 pm

 Morra, Oratorio di San Crescentino

Final concert of the national contest “Alberto Burri” dedicated to young groups of chamber music.

First edition

The Alberto Burri contest for young groups of chamber music is intended to give support to young musicians who wish to pursue a professional career in this difficult music field. It is a novelty of the 50th editon of the festival.
The final concert takes place in a wonderful venue: the San Crescentino Oratorio in Morra, a little Renaissance gem in the upper valley of Tiber with frescoes by Luca Signorelli.
Winners will be awarded with a prize money and the possibility to play in a concert of the Festival next year.


3rd september
9.00 pm

Montone, Chiesa di San Francesco



film screening: Die Büchse der Pandora by GEORG WILHELM PABST
from texts by FRANK WEDEKIND
introduction by Ivan Teobaldelli

original music by Daniele Furlati, live piano playing

Die Büchse der Pandora is a silent 1929 film inspired to the dyptich by Frank Wedekind – Earth spirit, 1895 and Pandora’s box, 1902- centered on the intriguing figure of Lulu. Like many other characters created by the German playwriter, this femme fatale, with her unrestraiend sexuality, hugely impressed the audience at the turn of the century, the same years when Freud was leading his reasearch of psychoanalysis. The scandal was not only due to the theme of sexuality but also to the tale of a marginalised and unconventional woman who tried to break the rules of the 19 century good mannered society. Wedekind with his writing between naturalism and expressionism really intrepreted the turbolences of the turn of the century and Pabst thirty years later succeeded in taking everything to the big screen. A good deal is also due to the sensual acting of Louise Brooks who became a well known star with this film.
Live music by Daniele Furlati adds particular fascination to the silent film section which started last year with the project dedicated to the Lumiere brothers.



4th september
6.00 pm

 Città di Castello, Parco di Villa Montesca

I Fiati di Parma
Claudio Paradiso director

RICHARD STRAUSS Wind serenade in E flat major, op. 7

WOLFGANG AMADEUS MOZART Selection from wind serenade n. 10 in B flat major KV 361Gran partita

RICHARD STRAUSS Wind Symphonie in E flat major Fröhliche Werkstatt


in collaboration with Fondazione Hallgarten Franchetti Centro Studi Villa Montesca

in memory of Baron Leopoldo Franchetti

“I cannot write about Mozart, I can just adore him” such was Richard Strauss’ answer to the request of a foreword for a Mozart’s biography. The admiration for the genius of Salzburg was the main uninterrupted underlying theme of Strauss whole life; at 80 he decided to dedicate his Sonatina in E flat – renamed Symphonie für Bläser – to “the everlasting spirit of Mozart to whom much of my life is indebted”. It is a complex piece which refers to his early important work: Serenade op. 7 which brought him von Bulow’s attention and marked his professional debut as composer and orchestra conductor. With the performance of Serenade op. 7 and a selection from the Gran Partita by Mozart, Fiati di Parma wish to highlight how much Mozart influenced Strauss production and at the same time the huge and substantial contribution of the latter for the development of music for winds.



4th september
9.00 pm

Città di Castello, Chiesa di San Domenico

Athenäum Quartet
Berliner Philharmoniker String quartet
Laurentius Dinca violin • Stephan Schulze violin
Walter Küssner viola • Christoph Igelbrink cello

FRANZ SCHUBERT String quartet n. 13 in F minor op. 29 D. 804 Rosamund: Andante
PAUL HINDEMITH Minimax. Repertorium für Militärorchester String quartet
JOHANNES BRAHMS String quartet in F minor op. 51 n. 2

Hindemith was a leading XX century composer. A prolific author who left a huge repertoire which covers theater, chamber and scene music, orchestra pieces. Among the many and varied pieces we may find real gems, ironic pieces, some real musical jokes like the amusing string quartet Minimax, the same name of an extinguishers’ manufacturer – which mimics military music.
This theme was a complex one for Hindemith given the fact that he served in the army during the final year of the first world war and lost his father on the western front. He was deeply disappointed by german militarism and by the national heroism’s rethoric.
This real treat of the chamber music repertoire will be accompanied by two classic pieces by Schubert and Bramhs , performed by Athenäum Quartet, a Berliner Philharmoniker string quartet founded in 1990 by the members of the famous Berlin orchestra.