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1 9 8 5 - 2 0 0 5
Story of a gift
In November 1984, I received an offer to collaborate with the “School of
Humanities” of “The Flinders University of South Australia” in Adelaide. Their
proposal seemed interesting and I was about to accept it when I received another
letter from Australia, from Carlo Zincone, director of the courses held at the
Dante Alighieri Society at Griffith University in Brisbane. Carlo Zincone also
had an interesting proposal: “instead of you coming here
to teach Italian, we could send you Australian students wishing to take Italian
courses in Italy”.
This second proposal took precedence over the first and from then onwards my
plans and the entire course of my life changed forever.
Lengthy correspondence with Carlo Zincone followed, and he came to visit Urbania
and Urbino in December 1984 and again in December 1985, this time bringing with
him a group of students studying Italian at “Griffith University”. This was the
first group to take part in a linguistic “study-holiday” in our area.
For future courses it was necessary to choose the exact locality for the new
school. First I thought of Urbino, because it is certainly the best known town
in our Province for those who are interested in history and culture. The idea
seemed very attractive . Moreover, the summer courses in Italian language and
culture organized by the University of Urbino were very well known.
But there were negative aspects to be taken into consideration. For example,
Urbino had too many tourists. After several weeks of meetings, visits and hard
thinking I decided against Urbino, above all for ethical reasons because I have
never wanted to reap where others have sown. So I finally decided on Urbania.
I have never regretted my decision. In Urbania I found the indispensable
conditions for setting up my project, in spite of the fact there were
innumerable difficulties to be overcome. I was able to count on the moral
support of the people, on the sentiments of those simple and sincere people
whose support has never been lacking, especially in the particularly difficult
moments.
Nobody forced me to choose Urbania, it was a personal choice made of my own free
will.
I had received a gift from Carlo Zincone and I have given a gift to the town of
Urbania, but also the town of Urbania has given a gift to me.
Carlo Amedo Pasotto
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On
20 January 1986, I went to Rome with Carlo Zincone to meet the secretary
general of the Dante Alighieri Society, Giuseppe Cota. We explained our
project to set up Italian courses for international students in Urbania
and he was enthusiastic. This was the first of a long series of meetings
after which I opened the school for foreigners in Urbania and we became
firm friends.
During the busy months that followed, there was another important event that influenced future: John Willett, founder and first Vice Chancellor of “Griffith University” in Brisbane, Australia, was our most welcome guest for 10 days at the beginning of April. He came because he had heard so much about us from Carlo Zincone and about the idea of setting up an Italian language school in Urbania. |
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Before
leaving, Professor Willett gave a lecture in the town hall in Urbania
and talked enthusiastically about our plans. He died a few years later,
but always had happy memories of his visit and followed the developments
of the school and courses with great interest. Personally, I consider
Professor Willett a kind of prophet and luminary who, with his
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presence
and encouragement, crossed my path like a bright meteorite at the moment
in which I was about to start on this great adventure. At that particular
moment in my life I needed a person like him. I will be forever grateful.
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2
In order to set up the first courses in
Italian language and culture in Urbania, it was necessary to found a branch of
the Dante Alighieri Society. After having consulted the Central Committee, the
then president Giovanni di Giura approved the idea with enthusiasm.
With the President’s consent, I was nominated regent of the new Urbania branch
on 11 March 1986.
I had no difficulty in finding 50 ordinary members and a fair number of
permanent members.
The official opening ceremony took place on the evening of 27 June 1986 at the
town hall in Urbania. The Secretary General, Giuseppe Cota, was present as was
the “Presidente del Consiglio Regionale della Regione Marche”, Giampaoli, the
“Assessore regionale”, Scriboni, the “Assessore Provinciale”, Bonci, the Mayor
of Urbania, Ebe Biagetti and many other personalities. The meeting concluded
with my unanimous election as president of the Urbania branch.
The first course for foreigners began a few days later and lasted from 30 June
to 25 July (the second from 28 July – 22 August and the third from 25 August –
19 September). On the first course, there were only 4 students! (what a
delusion, after so much hard work and such high hopes!) But “in nuce” it really
was an international school: the 4 students were of 3 different nationalities (1
Austrian, 2 Dutch and 1 Australian), coming from 2 different continents.
The second course was worse: 5 students, but only one paid. The third course was
slightly better: 11 students, even if not everyone paid. The total of the three
courses was then 20 students. During these courses I did everything: teacher,
driver, secretary, guide during the excursions, etc. and my wife became hostess
with our house transformed into a youth hostel!
I admit that this very modest start gave me serious doubts. Not only was I
sceptical, but so were many people in Urbania. However, a good seed had been
sown in fertile ground and the fruits were yet to come.
3
During the first few years the school grew
very quickly. 20 students in 1986;
153 in 1987( five 4 week courses from May to
September); 350 in 1988 (seven courses from April
to October); 453 in 1989; 520
in 1990, with the school open nearly all year round.
After that, the number remained at around 500 per year.
Up to now (June 2005),
8.149 students have attended the Centro Studi
Italiani (more than the population of Urbania!) coming from
113 countries throughout the world:
Albania, Algeria, Angola, , Argentina, Armenia, Australia, Austria, Bangladesh,
Belgium, Benin, Bielorussia, Bosnia-Herzegovina, Brasil, Bulgaria, Burkina Faso,
Burundi, Cameroon, Canada, Cape Verde, Czech Republic, Chile, China, Cyprus,
Colombia, Congo (Brazzaville), Congo Democratic Republic (Kinshasa),, Croatia,
Denmark, Dominican Republic, Egypt, Estonia, Figi Islands, Finland, France,
Gabon, Gambia, Germany, Ghana, Great Britain, Greece, Guatemala, Haiti, Holland,
Hong Kong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Israel,
Italy, Ivory Coast, Japan, Kazakistan, Kenya, Kirghizistan, Lesotho, Lebanon,
Liberia, Lybia, Liechtenstein, Lithuania, Luxembourg, Madagascar, Malaysia,
Malta, Morocco, Mexico, Principality of Monaco, Myanmar (Birma), New Zealand,
Nigeria, Norway, Pakistan, Paraguay, Peru, Philippines, Poland, Portugal,
Romania, Ruanda, Russia, Samoan Islands, Sao Tomé and Principe, Saudi Arabia,
Serbia-Montenegro, Singapore, South Korea, Syria, Slovakia, Slovenia, Spain, Sri
Lanka, South Africa, Sudan, Sweden, Switzerland, Taiwan, Tanzania, Thailand,
Togo, Trinidad and Tobago, Turkey, Ukraine, Uganda, Uruguay, U.S.A., Vatican
State, Venezuela, Vietnam, Zimbabwe.
4
Such rapid growth could, of course, create
problems. It did, and not only growing pains.
Soon we started to collaborate with prestigious institutes, universities and
conservatories abroad. On our first course for international opera singers (June
1987) there were two professors from the Oberlin Conservatory of Music, Oberlin
College, Ohio, U.S.A.: Daune Mahy and Gerry Crawford. They were so enthusiastic
that they returned the following year with thirty of their students. That was
the beginning of the programme “Oberlin in Italy”, which has now been directed
for 18 years by Daune Mahy, from 1988 to 2005, and will, of course, continue in
the future. This and other forms of collaboration with international
institutions meant that a new type of administration and organization was
necessary for this new school for foreigners
It was not possible to offer high standards of quality without changing the
legal status of the school. That is, it could no longer depend on volunteers, in
spite of their hard work and generosity. What was needed was continuity,
professionalism and reliability, without which the school would not have had any
future.
So, for these reasons, the Centro Studi Italiani was founded in March 1988,
while the courses organized by the branch of the Dante Alighieri Society
continued. This was the right decision at that moment, also with an eye to the
future.
5
In the summer of 1986, the first courses of Italian for foreigners were held in Urbania at the “Biennio” (Istituto Francesco Maria II della Rovere, in via Garibaldi). The following year the local authorities gave the “Dante” some of the rooms in the local library, which was in the Ducal Palace. We stayed there until May 1988. Then in June that year we moved to the prestigious “Governor’s Palace” in via Ugolini 15/17.Instead of having to rely on rent free premises offered to the “Dante”, the Centro Studi Italiani rented the entire palace from June 1988 – February 1995, when we were obliged to leave due to imminent refurbishing of the building.
We are now in Via Boscarini 1, once St.
Joseph’s Orphange for girls. The building was called “Palazzo Luzi” but we have
renamed it “Collegio Boscarini”, in memory of Monseigneur Guerrantonio Boscarini
(XIX century), Bishop of Urbania, founder of the orphanage. Since June 1988, the
Committee of the Dante Alighieri Society in Urbania has also had its offices
here at the Centro Studi Italiani, first in Via Ugolini 15/17and then in Via
Boscarini 1.
6
Since the very beginning, numerous groups have come to the centro Studi Italiani in Urbania, mainly opera singers but not only. The main ones are:
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“Oberlin in Italy” artistic director: Daune Mahy ( Oberlin Conservatory, USA) since 1987 to date. Performances of Operas, Opera Scenes and Concerts in Urbania, Urbino, Sant'Angelo in Vado, Fermignano, Apecchio, Sassocorvaro, Pennabilli, San Leo, Pergola, Pesaro, Riccione, S. Lorenzo in Campo, Ostra Vetere, Montefiore Conca, Monte Urano.
Pontificio Collegio Urbano “De Propaganda Fide”, 1989 - 2003.
University of South Carolina, special programme for MIBS-IMBA: 1990 to date.
“Centro Studi Italiani in New York”, artistic director: Joan Patenaude-Yarnell (Curtis Institute of Music, Philadelphia, and Manhattan School of Music, New York), from 1993 to 2003. Concerts and opera scenes in Urbania, Urbino, Sant'Angelo in Vado, Porto San Giorgio, Montebelluna, San Giovanni in Marignano, Maiolo, Mondolfo, Pennabilli, Sassocorvaro, Montecosaro, Monte Gridolfo.
Carlos Montané Group (Indiana University, USA), 1995, 1996, 1997. Concerts in Urbino, Urbania, Piobbico.
Maya Schermerhorn Group, special programme for Dutch opera singers, 1999, 2000, 2001. Concerts in Urbania and Piobbico.
“Chamber Music in Urbania”, director Stephen Swedish (DePaw University, USA), 2000, 2001. Concerts in Urbania, Sant'Angelo in Vado, Fossombrone, Apecchio, Civitanova Marche.
"La Musica Lirica Italiana a Urbania", directors Brygida Bziuckiewiz e Kathryn Hartgrove (White Water University, USA) from 2000 - 2004. Operas, Opera Scenes, Concerts in Urbania, Urbino, Sant'Angelo in Vado, Macerata Feltria, Pergola, Novafeltria.
Millikin University, special course for art students, 2002 and 2005.
"La Lingua del Canto", artistic director Sheila Luxon (Christcurch University College, Canterbury, GB), special programme for British opera singers. 2001, 2002, 2003. Concerts in Urbania and Belforte all’Isauro.
“Voce e Bel Canto”, artistic director Professor Sebastian Vittucci (Music University of Vienna), special group for European and international singers based on the Feldenkrais method. Two programmes a year have been held, one in February and one in August from 2004 to date.
“Stage combat”, directed by Ran-Arthur Braun, special programme, unique in its kind, of stage combat for theatre, television and cinema actors, with the participation of Tony Wolf, director of the fight scenes in the “Lord of the Rings” trilogy. The programme has been held in Urbania and Piobbico in August from 2004 to date.
“Lirica Italiana per la Cina”, director Zhang Xian, vice-secretary general of the Chinese Musicians’ Association(CMA) of the Peoples’ Republic of China. Special programme for Chinese opera singers organized by the CMA. Urbania, August 2004 and July 2005.
“Lingua e Lirica italiana”, artistic director Cecilia Mieko Hata (University of the Arts, Nagora, Japan). Special programme for Japanese singers. September 2004.
“China Conservatory in Beijing”,
directed by Song Yi, programme for professors and students from various
conservatories and universities in the Peoples’ Republic of China, August 2005.
7
It is certainly a long time ago since I
came to Urbania for the first time when, walking through the main street with my
English wife and our young children, we attracted a lot of attention from the
shopkeepers and local people, who literally walked out onto the pavement to
stare at the “foreigners”, wondering whatever we were doing there!
That was way back in 1978 and in 1982 we moved permanently to this area. Since
then, thousands and thousands of foreign students from all over the world have
come to Urbania and the town has become really international. There is now a
considerable difference between Urbania and the nearby towns, who have not had
these international students.
This type of phenomenon has certainly brought cultural and social improvements but, above all, has induced economic growth in Urbania and its surroundings, in the Province of Pesaro and the Marche Region. All this has been done by us, at zero cost for local organizations and government.
There have been several marriages between
our students and people from Urbania, not to mention the lasting friendships and
international relationships with many different people and places throughout the
world.
Another important aspect is the proliferation of our type of school. In 1986 we
were the first school for foreigners in the Marche region and along the entire
Adriatic coast. For many years there had been various courses for foreigners ,
for example the summer course organized by the University of Urbino, courses in
Rimini organized by the University of Bologna, etc. However, these were just
Italian language courses, they were not a “school for foreigners” in the real
sense that this now means after the founding of the Centro Studi Italiani, with
its original carisma that was recognised by Professor Willett. This model has
now spread throughout the territory and there are now many schools in the
Province of Pesaro and Urbino alone, all deriving directly or indirectly from
the Centro Studi Italiani. This model has also been imitated in other regions:
Emilia-Romagna, Veneto, Toscana, Umbria.
8
Since
the very beginning the Centro Studi Italiani has also collaborated closely with
the Centro of Italian Studies in Melbourne and with the director Elio
Guarnuccio.
In
1991 Elio came to Urbania and stayed the whole summer, meeting up with his
brother Claudio who was already here teaching for us. Together they took
thousands of photographs that they then used for the text book “Ci siamo”.
This original course of Italian as a second language consists of a text book, workbook, teacher’s manual and a series of audiocassettes for the teacher and students. The book was published by CIS-Heinemann in 1997. The text book is set in Urbania and the various units present not a true but plausible story of students attending our courses. The whole town can be seen, with its narrow streets, squares, monuments, local figures….
This was certainly excellent promotion for
Urbania throughout the world, especially the English speaking world. “Ci Siamo”
has contributed enormously in publicising Urbania (and our school).
9
The
idea to create “music courses” in Urbania came from Giuseppe Cota, Secretary
General of the Dante Alighieri Society. It was the evening of the official
founding of the “Dante” (27 June 1986) and we were walking down the main street
(Cota, my wife Anna and I)on our way to the town hall where the meeting was
about to take place. At a certain moment, Cota stopped and looked around. He
seemed intent, even inspired. He lowered his voice and said: “I think music
courses would do well in Urbania.” In fact, Italian is the universal language of
music, not only for the musicality of the language itself but for the importance
Italian music holds throughout the world. Cota’s words proved to be prophetic.
We considered his idea and soon decided that these “music courses” should be
courses for international opera students and singers interested in studying and
perfecting their knowledge of Italian operatic repertoire. There is obviously a
very strong connection between the Italian language and Italian operatic
repertoire.
The people who helped us develop a specific and original programme of courses
for international opera singers were Maestro Maurizio Spaccazzocchi from Urbania
who taught at the “Rossini” Conservatory in Pesaro and Genia Las, (mezzo
soprano) from Poland but resident in Italy for many years and a great friend of
Anna’s.
The details were decided after a series of meetings in August 1986. Maestro
Morganti, also a teacher from the conservatory in Pesaro, was nominated “coach”
and artistic director. The programme was unique in its kind (in Italy and
throughout the world) and was officially recognised by the Ministry of Foreign
Affairs.
The first courses were held in the summer of 1987 and the following year the
first group attended with the international programme
“Oberlin in Italy”.
Since then the programme has grown continually, attended by an ever increasing
number of individual students and groups.
With all this “raw material” it was easy to envisage organizing an opera
festival: the “Centro Studi Italiani Opera Festival”
for young voices and instrumentalists from all over the world. It was the end of
May 2000, jubilee year and change of millemium, which seemed a happy and
auspicious moment.
The festival consists of 4-week
international programmes. Each programme has its own artistic director. Course
members attend the Italian language course in the mornings, where special
attention is given to correct pronunciation, and the afternoons are dedicated to
Italian operatic repertoire with one-to-one lessons with Italian singing
teachers, coaching sessions, individual practice, group rehearsals and master
classes. Concerts and other performances take place in the evenings.
This festival is unique in it kind throughout the world, both because it is only
for young voices of exclusively Italian opera and
is non-profit: young artists perform free and all
performances are free (with the exception of Urbania, due to local government
regulations), in order to promote a renewed love for Italian opera in Italy and
throughout the world.
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In June 2000, the “Oberlin in Italy”
programme performed the first opera of the festival
“Amelia al Ballo”, by Menotti. It was not a casual choice, but an
emblematic one, because this great Italo-American composer symbolises the spirit
and aims of our festival.
Gian Carlo Menotti emigrated to the United States
when he was very young because he had won a scholarship to Curtis Institute in
Philadelphia. When he was twenty he wrote his first opera “Amelia al Ballo”
which paved the way to his brilliant future career. He is now the greatest
living composer of Italian opera and founder of the famous
“Festival dei due mondi”.
Our young singing students from all over the world (including“Curtis Institute”)
do the opposite of Menotti. That is, they come to Italy to perfect their
knowledge of the Italian language and Italian operatic repertoire which they
then take back to their countries. We would like all of them to be as successful
as Maestro Menotti….in the meantime Italian opera is becoming more and more well
known and appreciated throughout the world.
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10
1994 was a particularly difficult year. We
had to leave the premises in Via Ugolini (February 1995), and move to Via
Boscarini 1, where we had to do extensive refurbishing as the building had been
closed for many years.
In March I had a series of health problems: a heart attack and a difficult
surgical operation with a slow convalescence. The war in the nearby
ex-Yugoslavia made our area risky and this did not encourage foreign students
and tourists. All this meant we lost a considerable number of students. In 1995
things improved, with the new and more functional premises and the end of
hostilities in Yugoslavia. Our renewed enthusiasm did the rest. Very soon we
returned to the old “standards” and then went on to do even better.
The latest great initiative of the Centro Studi Italiani, (which in the meantime
has become an “International University Hub”) is
China. With its one billion three hundred million inhabitants, it is today’s
“giant” and, predictably, will continue to be so in the future.
We have set up special programmes for China and the first results were seen in
August 2004 with the programme “Lirica italiana per la
Cina”. In 2005 this programme was repeated in July. A new Chinese
programme has been organized this year in August with the
“China Conservatory in Beijing”, a programme that includes other
qualified conservatories from different parts of China.
In the meantime the first students have arrived who are attending a preparatory
course before going on to Italian universities. It is still very difficult for
these students to obtain visas to study in Italy and this is slowing down and
complicating matters. However, regulations are changing and it is hoped that by
the autumn these difficulties will have been overcome.
Apart from China, the Centro Studi Italiani is also interested in other emerging
countries: Eastern Europe, India, certain Arab countries and Latin America. But
all that will be part of our next exhibition, in 20 years’ time (God willing).
Carlo Amedeo Pasotto
Our grateful thanks to the following sponsors who, during these 20 yeaas,
have helped economically with contributions, scholarships or grants for
students: Our thanks to the “Comune di Urbania” for the use of the “Sala Montefeltro”, the “Ufficio Affissione” and Daniel Casarin, curator of the exhibition. |
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