“I rediscovered a love and joy for opera that moved away from the stress of needing to be perfect and instead allowed me to perform from the heart.” - Rodrigo Vargas, CLA Bel Canto 2026
Rorigo Vargas
Getting to Novafeltria from New York was a very long and exhausting journey. During the flight, I wondered what the experience would be like: Would people be friendly? Would I enjoy the festival? Would it be stressful as a pianist? When I landed at the Bologna airport around 9 a.m., I met up with a group heading to CLA. Everyone looked just as tired as me. When we gathered, although I knew some of them through social media and the New York music scene, I actually didn’t know many people personally. Nevertheless, everyone was friendly and we made our way toward the festival.
Upon arriving in Novafeltria, the first thing we were shown was our apartment. The hosts spoke only Italian, and I shared the accommodation with two great tenors (who are now my good friends). The house was lovely and offered wonderful views. My roommates and I were very hungry at the time, so we went to get something to eat. We were amazed by the delicious food being sold at such a low price compared to what we usually find in New York.
Later, we gathered at the beautiful and historic theatre in Novafeltria, and officially introduced ourselves to the faculty and other participants. After our meeting, we went out for gelato. I didn't notice it at the time, but looking back, I realize how quickly I felt at ease with this group of people.
Basilica di San Vitale, Ravenna
The coaching sessions began the following day. Each coach has a different specialty, which makes the CLA experience more diverse, as they each complement the various tools a singer needs. I remember my first coaching session with Daniel very well; I accompanied a Mozart aria. I really like Daniel’s approach to interpreting an aria because it allows the singer to explore the work from an actor’s perspective. Rather than dictating the final word, his instructions foster a dialogue with the singers to find an interpretation that suits both the character and the performer.
There was an Italian class with Vania, the program’s Italian teacher, everyday. From the very beginning, she spoke entirely in Italian. She was very patient and made sure we all understood. For singers and pianists, it is invaluable to practice and hear the language in everyday life rather than only through libretti and song lyrics.
I had the opportunity to play for some of Glenn’s coaching sessions as well. He focuses heavily on achieving the best possible resonance for each singer. I really enjoy Glenn’s sessions because he emphasizes a natural and simple process of singing. The singers felt very comfortable with him because he is always open to dialogue and listens to the opinions of everyone in the room, including singers, pianists, and even those just sitting in and observing.
I also played for coaching sessions with Ubaldo. We worked on the Pagliacci duet, and the baritone and soprano did an excellent job. Working with Ubaldo was a completely new experience for me because everything was in Italian. I was struck by the Maestro's attention to detail regarding the text, and how singing the words properly naturally corrects many aspects of the music.
The hills outside of Novafeltria)
Additionally, I played for several coaching sessions with John. He tends to be more technical in his approach with singers. I always enjoy observing voice lessons because, as a pianist, I learn a great deal and hear the nuances of what the teachers are asking for in real time. I find it to be highly specialized work that fosters my deep respect and admiration.
I didn't work extensively with Raphael, but during the few sessions I had with him, we focused on recitatives and how to improvise lines or motifs that made sense within the context of the onstage action. Since he is a composer, his musical ideas blended theoretical concepts with the dramatic staging.
One of the most quintessential Italian experiences was going to the market. On Mondays, a market featuring local products was held in Novafeltria, offering everything from clothing to food, including prosciutto, cheeses, the freshest fruit, and more. I bought weekly groceries for my roommates and I. It extended to hosting several pasta nights at our apartment during the festival with other friends in the program.
2026 CLA Bel Canto Artists
We performed five concerts during the festival. The first and last took place in Novafeltria, and the energy was absolutely wonderful. The first one, of course, carried that nervous excitement typical of an opening performance. For the second, third, and fourth concerts, we traveled a few hours away from Novafeltria by group bus. We visited incredible places with beautiful views, such as mountains and even a castle. The theaters were spectacular. We gave an open-air concert right in front of Dante’s tomb. Hundreds of people attended and brought such a strong energy. I remember how the audience kept applauding for several minutes after the final piece. That concert in Ravenna is one I will always remember fondly.
For the final concert in Novafeltria, the singers prepared music from their own cultures. I had the chance to perform a zarzuela romance in Spanish, an Albanian song, and several musical theater numbers with these talented singers. This concert was special because, this time, we were able to share a piece of our culture with the Italian audience.