El Cant de la Sibil·la / Ensemble San Felice
Sacred music from medieval Catalunya
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Brilliant Classics 95481
2017
[54:12]
Music from the Llibre Vermell de Montserrat
1. Polorum Regina [5:10]
Soloist: Eloisa Iori
LV 7
2. Los set goyts [2:33]
LV 5
( intro: CSM 234 ? )
3. Maria Matrem Virginem [6:41]
LV 8
4. Stella splendens [2:58]
Soloists: Emma Giannini, Eloisa Iori
LV 2
5. Imperayritz de la ciudad joyosa [6:31]
Soloist: Maria Chiara Di Benedetto
LV 9
Traditional Catalan ballad
6. El comte Arnau [4:11]
Soloists: Rachele Zamperini, Simone Emili
Music from the Llibre Vermell de Montserrat
7. Ad mortem festinamus [2:29]
LV 10
8. Laudemus Virginem – Splendens ceptigera [1:47]
LV 3 –
LV 4
Music from the Barcelona Lectionary (14th century)
9.
Antiphona: Christus natus est nobis –
Psalmus 94/95 (Invitatory): Venite exultemus Domino [2:29]
Soloist: Simone Emili
10. Benedictio – Lectio – De homilia Sancti Augustini [1:41]
11. Responsorium: Verbum caro factum est [2:32]
12. Benedictio – Lectio – Sermo Sancti Augustini in die Natalis Domini [1:25]
13. El cant de la Sibil·la [7:02]
Soloist: Chiara Galioto
Music from the Llibre Vermell de Montserrat
14. O Virgo splendens [1:39]
LV 1
15. Cuncti simus concanentes [3:00]
Soloists: Eloisa Iori, Rachele Zamperini, Simone Emili
LV 6
Traditional medieval song
16. Ave maris stella [1:57]
Soloist: Simone Emili
Ensemble San Felice
Federico Bardazzi conductor
Instrumental accompaniment
Federico Bardazzi — vielle
Michele Bertucci — recorders, tambourine, symphonia (hurdy-gurdy)
Dimitri Betti — portative organ
Xiao Ran Bu — erhu (Chinese violin)
Marco Di Manno — recorders
Dario Landi — lute
Veronica Nosei — shawms, recorders
Donato Sansone — recorders, percussion, symphonia, bagpipe
Tommaso Scopsi — percussion
Vocalists
Federico Bardazzi, Dimitri Betti, Shuyun Huang, Dario Landi, Marco Di Manno,
Xhianzhuo Mi, Tommaso Scopsi, Mengyao Sun, Xiao Jing Xu, Zhiqiang Zhang
Chiara Galioto Sibil·la
Pueri Cantores della Cattedrale di Sarzana
Alessandra Montali chorus master
Voci bianche (child sopranos)
Elsa Canepa, Maria Chiara Di Benedetto, Eleonora Cantale, Maria Sofia Cantale,
Asia Del Prato, Gaia Forcelli, Emma Giannini, Eloisa Iori, Michelle La Galante,
Mickaela La Galante, Martino Mei Moretti, Elsa Poletto, Corinne Fanny Rosignoli,
Michele Virgilio, Rachele Zamperini
Tenors
Pietro Bernardini, Simone Emili
Basses
Gaetano Canepa, Zeno Canepa, Emmanuele Casula, Emanuele Menconi
Recording: 9 & 10 April 2016, Pieve di Sant’Andrea in Sarzana, La Spezia, Italy
Artistic production: Federico Bardazzi & Nicola Cavina
Recording, editing & mastering: Nicola Cavina
Cover image: Sibilla Eritrea; detail from the Sistine Chapel, Rome, by Michelangelo Buonarroti (1475–1564)
Recording in the Pieve di Saint’Andrea took place thanks to Father Piero Barbieri
Liner notes & biography translations: Ian Mansbridge
℗ & © 2017 Brilliant Classics
El Cant de la Sibil·la: About the project
The realisation of El Cant de la Sibil·la
came out of the Medieval Music Workshop held by Federico Bardazzi,
Alessandra Montali, Donato Sansone and Marco Di Manno at the
‘Giacomo Puccini’ Conservatoire in La Spezia, thanks to an
artistic collaboration between Opera Network Florence, Pueri Cantores
of the Cathedral of Sarzana and Ensemble San Felice. Working together,
these four creative forces have produced something of great artistic
and educational value. The launch of the Early Music Workshop brought
many young students from the conservatoire into contact with very old
and little-known repertoire. With expert professional guidance, they
were taught early vocal and instrumental techniques, for an authentic
reconstruction of the performance style from the era in which the works
were composed. The young singers from the Pueri Cantores della
Cattedrale di Sarzana choir (some of whom are very young indeed) gave
the performance extra depth with a vocal technique that intentionally
recalls the sound of the texts from the Llibre Vermell, a work that pilgrims to Montserrat would have heard on arrival at their destination, performed by the Escolania choir of niños cantores.
Finally, the use of copies of period instruments, mixed with the purity
of the vocal timbre, produced an absolutely captivating blend of sounds.
El Cant de la Sibil·la
opened the first InCanto Armonico festival, a new event dedicated to
early music that aims to mix instrumental and vocal music, to encourage
young music students and professionals to perform together, to share
projects with associations and artistic bodies from different regions,
and to host Italian and foreign choral and instrumental groups and
collaborate with them. In spite of their differences, these groups
aspire to build mutual understanding and fruitful relationships steeped
in empathy, leading to truly enchanting results, as seen in this
recording.
© Alessandra Montali
St Augustine: ‘De Civitate Dei’, chapter XXIII, 23: The Sybil’s Prophecies
‘Some people refer to a prophecy made by the Erythraean
Sibyl. The Erythraean Sibyl certainly made some prophecies explicitly
concerning Christ, which we first read in bad, stilted Latin, due to
the lack of skill of an unknown translator. In a certain section the
first letter of each line spelled out the phrase “Jesus Christ
the Son of God, the Saviour”.
There are 27 lines in total, or three cubed; three times three is nine,
and three times nine, as if making a flat figure three-dimensional, is
27. Then, if you join the first letters of the five Greek words meaning
“Jesus Christ, the Son of God, the Saviour”1 you get a word
meaning “fish”, a word that expresses Christ in a spiritual
sense, as only He can remain alive, i.e. without sin, in the abyss of
mortality, like in deep water.
The Erythraean Sibyl or, as some call her, the Cumaean Sibyl,
throughout the poem of which this is a short extract, does not present
anything that recalls the worship of false or invented gods; on the
contrary, she speaks against them and their followers, and so it
appears she may be one of the citizens of the city of God.
These are the Sibyl’s words. Without adding anything, we have set
them down one after the other, taking care to highlight the first
letter of each line, which transcribers may wish to preserve for the
future. However, some people have written that the Erythraean Sibyl was
not around at the time of Romulus, but instead lived during the Trojan
War.’
1 The text reads as follows: Haec de Christi nativitate, passione et ressurectione, atque ejus secundo adventu ita dicta sunt, ut si quis in graeco capita horum versuum discernere voluerit, inveniat JESUS CHRISTOS THEU YIOS SOTHER: id est, Jesus Christus Dei Filius Salvator, quod in latinum translatis eisdem versibus apparet, praeterquam quod graecarum litterarum proprietas non adeo potuit observari (Lectio Sancti Augustini Episcopi in die Natalis Domini)
The Song of the Sibyl
In the Middle Ages singing was an integral part of worship,
combining intimate prayers, dance rhythms and courtly arias originating
from the regions crossed by the great pilgrimage routes: from Italy to
Catalonia via Provence; from Thuringia to the Cathedral of Notre Dame
in Paris via Normandy; and from southern Italy to the court of Castile,
where St Dominic, the guardian of pilgrims, was worshipped. These
traditions became amalgamated during pilgrimages, eventually forming
their own unique language.
Montserrat Monastery, set on the jagged Catalan mountains above
Barcelona, is the most legendary of all the pilgrimage sites. Its
ardent resistance to the Visigoth hordes has seen it renowned as a
bastion of Christianity since medieval times. This programme attempts
to depict an imaginary coming together of pilgrims from various places,
who meet en route and head to Montserrat to attend midnight Mass on
Christmas Eve. Musically speaking, we started out on this abstract
journey with the Llibre Vermell,
a work created to ensure that the believers who climbed up to
Montserrat had a suitable musical repertoire to sing. The pilgrims had
tended to alternate religious songs with secular hunting songs and
dances, often accompanied by minstrels and storytellers.
The statue of the Madonna in the central chapel of the monastery is
black, representing the end of time and the approaching apocalypse. In
this chapel the monks would sing the opening lines of sacred hymns
performed by the Escolania, the renowned Montserrat boys’ choir.
During the third nocturn of the Christmas Day matins service, a boy
from the Escolania was dressed up as the Sibyl and, blindfolded, sang
the famous verses from pagan times predicting the coming of Christ and
the end of the world. This tradition also spread to Italy, Provence and
Castile and continued for several centuries, until it was outlawed by
the Council of Trent. For this performance we chose the version found
in the archives of Barcelona Cathedral, in Codex 184, which is the same
age as the Llibre Vermell and, most importantly, contains the full pseudo-Augustinian Lectio
on the Sibyl’s prophecy. Romance languages were starting to be
used in religious settings in this period, and so we chose the Catalan
version from Codex 184 (the manuscript also contains a Latin version),
just as the two languages alternate in the Llibre Vermell.
The Gregorian chant section has the job of placing the Sibyl’s
prophecy in its original context, i.e. the liturgy of the Matutinum,
which was the precursor to medieval liturgical drama, seemingly fed by
an irrepressible need to depict something intangible. The Matutinum
was divided into three nocturns, sung at different times during the
night (with the third sung at dawn). Each comprised three psalms and
three readings with corresponding responsories; it was introduced by
the Invitatory Psalm 94 (or 95 in the Hebrew numbering), and the Te
Deum hymn was sung at the end. Following the Second Vatican Council,
Matins became the ‘Office of Readings’, comprising a total
of three psalms and two readings with corresponding responsories, still
introduced by Psalm 94 and rounded off, on feast days, by the Te Deum.
It is worth underlining that the earliest liturgical dramas originated
in the final part of the third nocturn of Matins at Easter and
Christmas, first modifying and then taking the place of the final
Responsory; it is almost as if sacred theatre formed of its own accord
from the words of the early church fathers. Liturgical drama would
subsequently move into several tropes in the Introit of Mass. However,
this service remained more resistant to this form of spiritual
expression, as, unlike the Office of Readings, it already provided a
excellent representation of the sacred, and thus was also more rigidly
formalised. For the Invitatory psalm and the Lectio
of Saint Augustine with the corresponding Responsory we used several
sources, including the 12th-century Florence Antiphonary from the
archiepiscopal archive and a thorough comparison with the oldest source
of the Gregorian Office, the 9th-century Hartker Antiphonary. For the
Latin pronunciation we chose the form closest to medieval Catalan.
Indeed, there is evidence that, although Catholicism was centred in
Rome, in the late Middle Ages there were differing views on
ecclesiastical Latin in different parts of Europe.
The instruments used are copies of original period instruments, based
on drawings and extremely detailed research. When arranging the pieces
we always sought to leave room for the simplicity and expressiveness of
the pieces in the Llibre Vermell created by heterophony and improvisation.
In El Cant de la Sibil·la
in particular we developed the ornamentation in the solo vocal line and
structured the lyrics of the choral parts using a technique still used
today in Arabic nawba in the
countries of northern Africa; it is well known that there were very
close ties between Arabic, Jewish and Christian culture on the Iberian
Peninsula in the medieval period, especially when it came to music.
This procedure is based on an expansion of the original text, where the
final syllables of phrases are repeated
(‘destruhira…ra…ra’) and phrasal tropes taken
from the text itself are added (‘al jorn del judici’).
Popular Arabic choruses are also revived, such as ‘ ta na nì, dir na’, similar to our ‘tra la la’
and particularly suited for providing a commentary somewhere between
irony and cynicism that dispels the apocalypse prophesied by the Sibyl.
The choir therefore has a dual role in this piece, acting as a drone
– a background to the dialogue between the solo voice and the
instrumental improvisations – and enhancing various aspects of
the text’s dramatic nature through the procedures indicated above.
A single piece with a secular text was included in the programme,
telling the legend of Comte Arnau and his little widow: this text, set
to music as early as the Middle Ages, was passed down orally for
several centuries and today forms part of the vast repertoire of
traditional Catalan music. Its inclusion in this programme aims to
represent a time during the night when the pilgrims, awaiting the
opening of the monastery and the start of the Matins liturgy and
following numerous hymns to the Virgin Mary, gave the floor to the
storytellers.
© Federico Bardazzi
Federico Bardazzi, a specialist
in Early and Baroque music, is best known as a conductor of opera,
ranging from the genre’s origins through to Handel, Gluck,
Mozart, Rossini and Puccini.
After studying cello under André Navarra in Siena and Paris,
Bardazzi studied chamber music with Piero Farulli and the Borodin
Quartet, composition with Carlo Prosperi and Roberto Becheri, Gregorian
chant with Nino Albarosa and Johannes Berchmans Göschl, choral
conducting with Roberto Gabbiani and Peter Phillips and orchestral
conducting at the Chigiana Academy with Myung-Whun Chung.
He conducts the Ensemble San Felice, a globally acclaimed vocal and
instrumental group with a repertoire encompassing everything from
Medieval to contemporary music.
He has devoted much of his time to the music of Bach over many years,
and under his baton the ensemble has performed all the composer’s
major church music and instrumental concertos. He has conducted
Handel’s Messiah in numerous concerts, both in Italy and across Europe.
In addition to a new version of Mozart’s unfinished Requiem,
he frequently performs rare works and renowned masterpieces by
17th-century composers, including Girolamo Frescobaldi, Francesco Maria
Stiava, Dietrich Buxtehude, Jerónimo de Carrión,
François Couperin, Michel-Richard de Lalande and John Dowland.
His 2005 rendition of three of Giacomo Carissimi’s oratorios at
the Queen Elizabeth Hall in London was particularly noteworthy, and in
May 2008, again in London, he put on the first staged production in
modern times of Handel’s Rodrigo,
directed by Luciano Alberti, for the Lufthansa Festival of Baroque
Music, founded by Ivor Bolton and Tess Knighton. This production was
also performed in 2009 at the Teatro della Pergola in Florence, where
in 2011 he conducted Claudio Monteverdi’s Vespers for the Amici della Musica di Firenze. A CD of the performance was recorded for Brilliant Classics.
His programmes focused on research into medieval music have achieved
great success throughout Europe: ‘Nigra sum sed Formosa’,
based on the Cantigas de Santa Maria; ‘La Sibila del reno’
(‘The Sibyl of the Rhine’), which concentrates on the work
of Hildegard of Bingen; the medieval liturgical drama taken from
Florentine codices Quem queritis;
and ‘Laudi e Contrafacta nella Firenze del Trecento’
(‘Laude and Contrafacta in 14th-century Florence’) and
‘Musica per San Zanobi nella Firenze del Trecento’
(‘Music for St Zenobius in 14th-century Florence’),
exploring the work of Francesco Landini. He is currently working on
‘La musica della Commedia’ (‘The Music of the Divine Comedy’),
a major study of the music in Dante’s masterpiece presented in
the form of concerts, conferences and multimedia productions.
Federico Bardazzi was course director at Maggio Fiorentino Formazione
from 2008 to 2014, where he organised projects and higher and further
education courses, supported by the European Social Fund, for the full
range of artistic and technical professions linked to opera. This work
was carried out in partnership with Tuscany’s leading opera
organisations, including Teatro Verdi in Pisa, the Torre del Lago
Puccini Festival and Teatro Metastasio in Prato, with which he
continues to work. This experience led to Opera Network, an idea
originally conceived by Carla Zanin, which works to develop
collaborative projects between various types of organisation to put on
opera productions, aiming to help young artists take their first steps
in their professional careers. These include (all conducted by
Bardazzi): Purcell’s The Fairy Queen (Teatro Goldoni, Florence 2013), Il Flaminio by Pergolesi (Teatro Verdi, Pisa 2014) and Il Trionfo dell’Onore by Alessandro Scarlatti and Gazzaniga’s Don Giovanni
(Teatro Verdi, Pisa 2015). The 2016/2017 season will present a work by
Galuppi in partnership with the Landestheater in Salzburg, directed
by Carl Philip von Maldeghem. Bardazzi is
currently director of the Torre del Lago Puccini Festival Foundation
Training Centre.
He is artistic director of ‘In-canto gregoriano – incontri
internazionali di Firenze’, a Gregorian chant festival in
Florence, and was a member of the national (2003–06) and
international (2009–15) board of directors of the International
Association for Studies of Gregorian Chant (AISCGre).
He is president and artistic director of the Florence International
Choir Festival, which every year brings hundreds of choral singers from
all over the world to Florence for an event of great musical and
cultural importance.
Aware of the great potential offered by the Far East for artistic and
musical higher education in Italy, he devised and launched a cultural,
linguistic and musical training course for Chinese students in
collaboration with the University for Foreigners Perugia.
He has run courses on Gregorian chant and mediaeval monody for the
University of Florence, and is invited to give masterclasses all over
the world: two particularly noteworthy examples were his 2014
masterclass in Seoul for the World Symposium of Choral Music and a
masterclass given in Jerusalem for the Israel Choir Conductor
Association. With the Ensemble San Felice he coordinates two
European-funded projects in collaboration with some of the most
prestigious academies and universities in Europe: VetMusicPro and
Cantus Posterior.
He has amassed an extremely wide-ranging discography at the helm of the
Ensemble San Felice, taking in everything from medieval repertoire to
opera, and has credits not only as a conductor but also as a Baroque
cellist, gambist and viellist for labels including Brilliant, Tactus
and Bongiovanni. His concerts have been broadcast by the Italian
national broadcaster Rai, on Swiss, German and Polish radio and
television, and on the BBC, which produced a special programme
dedicated to his work.
Federico Bardazzi lectured in ensemble music and Baroque music at the
Bellini Conservatoire in Palermo and the Marenzio Conservatoire in
Darfo Boario Terme (Brescia), and has taught at the Puccini
Conservatoire in La Spezia since 2012.
The Ensemble San Felice is a
vocal and instrumental group founded in 1993 by Federico Bardazzi as
part of his work at the San Felice Academy in Florence (where he was
president from 1991 to 1999 and artistic director until 2009). The
group became an independent association in 2009, allowing it to develop
projects that were more specific and focused yet wide in scope,
including collaborations with prestigious Italian and foreign
organisations. Federico Bardazzi is president, the flautist Marco Di
Manno is artistic director and Carla Zanin is general manager of the
association and, in particular, the Florence International Choir
Festival, which brings hundreds of musicians from five different
continents to Florence every year.
The repertoire the ensemble performs is predominantly sacred and ranges
from medieval to contemporary music, focused in particular on the work
of J.S. Bach: over the years it has performed numerous works by him,
including the Mass in B minor, the six German Motets, the St John
Passion, the Brandenburg Concertos and a complete liturgical
reconstruction of the Lutheran Mass set in Bach’s years in
Leipzig, not to mention numerous cantatas.
Under Bardazzi’s guidance the group also specialises in
17th-century repertoire and has performed rarely heard works by Marco
da Gagliano, Frescobaldi, Carissimi, Buxtehude, Jerónimo de
Carrión and François Couperin in numerous festivals both
in Italy and abroad.
The first performance in modern times of the Vespers of St Cecilia
by Francesco Maria Stiava, mounted by the ensemble in partnership with
the musicologist Giuseppe Collisani, generated significant public
interest. For years the ensemble has also had a close relationship with
the work of Giacomo Carissimi, performing, in addition to the famous
Jephte, many oratorios which are less well-known but nevertheless of
indisputably high quality. It performed these works at the Queen
Elizabeth Hall in London in 2005. In 2008, again in London, the public
was treated to the modern fully-staged premiere of Handel’s opera
Rodrigo, as part of the
Lufthansa Festival of Baroque Music. In the field of Baroque opera the
ensemble’s stand-out productions with Opera Network include
Purcell’s The Fairy Queen, in collaboration with Maggio Fiorentino Formazione (2013), Pergolesi’s Il Flaminio (2013–14) and Il Trionfo dell’Onore by Alessandro Scarlatti (2015), a coproduction with the Teatro Verdi in Pisa. 2017 will see the first modern performance of Montezuma by
Baldassare Galuppi, a co-production with the Landestheater in Salzburg,
the Puccini Festival and Opera Network, directed by Carl Philip von
Maldeghem and conducted by Federico Bardazzi.
Other productions have received significant public and critical acclaim
on numerous European tours, in particular a new version of
Mozart’s Requiem, El Cant de la Sibil·la, which was first presented at the Festival of Two Worlds in Spoleto, Nigra sum sed formosa (Cantigas de Santa Maria) and the medieval liturgical drama drawn from Florentine manuscripts entitled Quem Queritis?
The ensemble has also repeatedly returned to the music of Arvo
Pärt, including its Magnificat programme created with the support
of the European Union and based around the Sieben Magnificat-Antiphonen and the Berliner Messe, with the addition of texts from the proper in Gregorian chant.
The group has dedicated a lot of energy to the Gregorian repertoire in
recent years, focusing on philological and semiological aspects of
performance. This gave rise to ‘In-canto gregoriano –
incontri internazionali di Firenze’, a prestigious annual
festival held in Florence in partnership with Viri Galilaei and the
Metropolitan Chapter of Florence. It regularly features the most
renowned figures in the field, including Franz Prassl, Nino Albarosa,
Johannes Berchmans Göschl and Daniel Saulnier.
In recent years two European projects, VetMusicPro and Cantus
Posterior, stand out amongst the ensemble’s work; it coordinated
both, in partnership with universities and conservatoires from more
than ten European countries.
The project entitled La Musica della Commedia (‘The Music of the Divine Comedy’)
– incorporating music, video art and spoken word –
developed by Julia Bolton Holloway, Federico Bardazzi and Marco Di
Manno with artistic support from Carla Zanin, was especially
well-received. It was performed in Spain, Portugal, Germany and
Austria, and in Italy at the Ravenna Festival and in Florence Cathedral
in a co-production with the Opera di Santa Maria del Fiore and Teatro
della Pergola. A CD of the performance was released by Classic Voice – Classic Antiqua magazine, with 16,000 copies produced, and a DVD was released along with Marco Romanelli’s book Cantando come donna innamorata. Dante e la musica
(‘Singing like a Woman in Love: Dante and Music’) published
by the Rome-based Società Editrice Dante Alighieri.
The ensemble’s latest project is ‘InCanto Armonico’,
with artistic direction from Alessandra Montali and Federico Bardazzi
and in collaboration with Opera Network and the Pueri Cantores della
Cattedrale di Sarzana choir. The festival, founded in 2016,
incorporates several captivating venues in northern Tuscany and
Liguria, with a programme predominantly focused on Early and Baroque
music, brought to life by up-and-coming talented performers, some of
whom are extremely young.
Ensemble San Felice’s wide-ranging discography under Federico
Bardazzi’s baton comprises 20 CDs and DVDs recorded over 15
years, including Monteverdi’s Vespers (Brilliant), the first ever recording of Messa sopra l’aria di Fiorenza by Girolamo Frescobaldi (Bongiovanni), a CD of Alfonso X’s Cantigas de Santa Maria entitled Nigra sum sed formosa, and Francesco Landini: Cantasi Come: Laudi e contrafacta nella Firenze del Trecento (‘Cantasi Come: Laude and Contrafacta in 14th-century Florence’) (Bongiovanni).
The ensemble’s concerts and recordings have been broadcast by the
Italian national broadcaster Rai, Swiss, German and Polish radio and
television and the BBC, which dedicated a special hourlong radio
programme to the group.
Alessandra Montali
After graduating with outstanding grades from the ‘L.
Boccherini’ Conservatoire in piano, Alessandra
Montali continued her studies at the University of Bologna, where
she achieved a degree with honours in Arts, Music and Entertainment,
and later a PhD in Musicology. She won scholarships that allowed her to
develop her musicological training both in Italy and abroad (University
of Paris X-Nanterre). She participated as a speaker at conferences both
nationally and internationally (Rome, Milan, Bologna, Paris and
Kraków), and has published articles for major specialist
journals (Rivista Italiana di Musicologia, Rivista di Analisi e Teoria Musicale) that have been translated abroad (University of Pittsburgh Press, Cracow Press). Her most important book is Ascoltare il Tempo. Le relazioni temporali nella musica: dalla linearità alla stasi
(Aracne, 2008), which examines the cognitive emotional and cultural
processes involved in music listening. She has taught History of Music
at the Conservatoires of Pesaro, Bari, Bergamo, Potenza and currently
teaches at the Conservatoire in Vibo Valentia.
Alongside her musicological work, Montali is active as a choral
conductor. She specialised in working with youth choirs, and studied
vocal pedagogy with Italian and foreign experts (among them M. G. Abba,
M. Mora and G. Morgan), and has held choral singing and training
courses. She is director of the Pueri Cantores della Cattedrale di
Sarzana, a group of ‘voci bianche’, or young soprano
voices. The ensemble is dedicated to the study of both early and modern
music, sacred and secular, and collaborates with various instrumental
ensembles. The choir’s repertoire encompasses everything from
Gregorian chant to Renaissance and Baroque music, as well as modern
music and contemporary songs. Pueri Cantores have performed in numerous
concerts, including the medieval music programme ‘Stella
Splendens’ in collaboration with the Diocesan Museum of
Villafranca, Aulla, Massa and Pontremoli, which was filmed and
broadcast by Italy’s Rai Tre channel. In 2010, the choir
concluded the VII International Festival of History, organised by the
University of Bologna, with a performance of Gregorian and medieval
songs. Montali also directed a drama for voices, choir and instruments
in the ancient Basilica di Santo Stefano in Bologna entitled
‘Diario del Santo Viaggio. Donne, penitenti, mistiche, sante e
beate, pellegrine medievali in faticoso e periglioso cammino verso
Gerusalemme’ (‘Diary of a holy journey. Women, penitents,
mystics, blessed ladies and medieval pilgrims make the tiring and
dangerous journey to Jerusalem’).
Together with the Baschenis Ensemble, a group of musicians who
specialise in Renaissance and Baroque music, Montali directed a
programme of Renaissance music entitled ‘I bei legami’ for
the Early Music Festival in Val di Vara. With the same group she
instigated a revival of Renaissance and rock pieces with early
instruments in the programme ‘BaRock Music: tra filologia e
contaminazioni’, which was performed in 2012 for the ARSA
Festival in Sarzana. In Torre del Lago Puccini, she conducted a concert
of music by Bruno Coulais for the Puccini Festival. For the theatre,
Montali has been active as a choral director, including for the opera Noye’s Fludde
by Britten, performed in 2011 in collaboration with the orchestra of
the Conservatory ‘G. Puccini’ of La Spezia; in 2013, she
did the same for the Telemann cantata Der Schulmeister
in collaboration with the Orchestra da Camera ‘A.
Mussinelli’ of La Spezia, and in 2014, she was choral director
for a musical version of Italo Calvino’s fairy tale Giricoccola, with music by A. Galliano, performed for the Festival of Music and Fairy Tales in Sarzana.
In 2014, thanks to the realisation of a CD produced by the Rotary Club
of Genoa, Pueri Cantores was identified as one of the best youth choral
groups in Italy. The following year, Montali was chorus master for a
concert entitled ‘Reconstruction of the Protestant liturgy of
Christmas’ with Ensemble San Felice, directed by Federico
Bardazzi. Alongside the ensemble and Bardazzi, she staged ‘Music
in Comedy’ for two prestigious events: the Ravenna Festival and
the Festival of Sacred Music ‘O flos colende’, staged in
the Duomo of Florence. The programme was released on a CD published in Classic Voice: Antiqua in November 2015.
In 2016, Montali collaborated with Bardazzi in the artistic direction
of the InCanto Armonico Festival, in partnership with the Opera
Network association and Ensemble San Felice in Florence, where they
premiered El Cant de la Sibil·la.
In April 2016, she conducted a series of concerts with the Pueri
Cantores alongside the Baschenis Ensemble in Southwell Minster, Newark
and Newstead Abbey, Nottinghamshire, in the UK.