The White Voices of the Farnese Choir are born in 1976 when Roberto Goitre decides to bring to Piacenza the enthusiasm that had characterized the experience of the Little Cantoras of Turin and to experience again the effective correspondence of his method of learning music to the needs of children .

In the preface of the Cantar Leggendo of 1971 Goitre describes the objective of his research: “to educate while having fun and interesting children to discover the world of sound that they themselves can recreate with the instrument that each of us carries with us right from the first cry: the voice “It is all the more convinced that music is read and written just like a spoken language.”

Mario Pigazzini accepted this vocation in 1981, continuing and developing the methodology developed by Goitre. In recent years he has led the creation of a real school structure that includes four years of courses and selections. This path is necessary to develop skills and find the necessary confidence with one’s own voice to allow children to have fun discovering polyphony masterpieces where, without this preparation, they would clash with boredom and frustration.

“For the individual it is very important to sing, but by singing the CHORAL SONG, as a social formation and psychic and moral education, the READING SONG, as a scientific education of the mind and the ear not only for purely musical purposes, the EXPRESSIVE SONG , as an education of taste. ” (R. Goitre)

The song, faced in this perspective, fits into a wider pedagogical context and the teaching of music finally finds its rightful place in the formation of the child. Several testimonies from parents and teachers confirm to Goitre that “Teaching with this method awakens the pupil’s perceptive and accepting faculties to such an extent that he urges the logic to exercise a beneficial influence on the learning of other disciplines; to this tended the ideal of Kodály who urged teachers to act pedagogically on two main directions: music as art and as science. ”

The fifty children who currently form the chorus of white voices bear witness to how a far-sighted project is now a consolidated reality and in continuous evolution [within a city that sometimes seems not to notice this privilege]. The discovery of the voice, its potential and the strength it has in representing us gives the child the opportunity to play with music that rarely belongs to his listenings and to those that the world around him imposes on him. The game, like music, generates fun only when faced with extreme seriousness. The unchanged quality of this formation transcends the inevitable mutability of its staff, the soul is not changed by the passage of different faces and voices, but lives in the change of generations.

The numerous experiences of exchanges with other choirs, often abroad (Greece, France, Hungary, Belgium, Germany, Czech Republic, Austria, Andorra, Switzerland) and participation in various operas (Suor Angelica, Cavalleria Rusticana, Wir bauen eine Stadt, Werther, Tosca, La Gioconda, Brundibar, Carmen, Bohème) bring this story out of our city making it even more colorful.