“Garrisca al vento il labaro viola…”. "the violet banner fluttering in the wind…" Who does not know the famous first line of the Fiorentina theme song by Narciso Parigi, which has been a loyal companion encouraging the actions of the Fleur-de-lis team since the 1950s, through the good and the bad times? 

He began his career at the age of 16 at Campi Bisenzio (where he was born on 29th November, 1927, singing on Radio Firenze and straight from there was taken to Rome by the RAI. A career which very soon passed to the other side of the ocean. 

Over his long career he has cut 5.500 titles and sold tens of millions of records.  Parigi has also starred In 17 films (he played in the The Graduates (1995) by Leonardo Pieraccioni, where he played the part of Berto or, in 1959 the realisation of the film Assi della Ribalta together with Ferdinando Baldi and was also ambassador of the Fiorentina song ("Un bacione a Firenze" to give just one example) in the United States and the rest of the world.  Narciso is a Fiorentina in every respect.  He is his city's emblem and just like its symbol, Parigi is a Fleur-de-Lis who has knowingly opened his petals to the entire world.

And Florence - which was never very magnanimous towards its own Masters from Dante onwards - has this time, and quite rightly so, placed Narciso amongst its artistic emblems and has awarded him a well-deserved title during the presentation of the book "Narciso Parigi, a Tuscan's sense of music and life from another era", which was held in 2006 at the Palazzo Vecchio.  A book with the Idea of celebrating the artistic birthday of this great Florentine artist, one of the few examples of the internationally famous "made in Tuscany", exactly 60 years after cutting his first record "Ho lasciato il mio cuore a Firenze" - I left my heart in Florence - (June 1946).  The book is a 300 page biography, published by Semper, which covers the life of "the voice of Florence in the world" from his beginning.  A book full of news, curiosities and photographs written by the musical critic, Giovanni Ballerini, with a preface by one of the best experts in the field of Italian songs, Paolo Limiti.

But during our telephone conversation, wherein Narciso retraces his early years, it is to his time spent in Campi Bisenzio that he frequently returns to and where he lingers over memories linked to his youth and the second world war…..he tells me of friends lost In the war, of them dying a hero's death, of the pain he has carried within him all his life……melancholy stories, measured, sometimes, by pauses of uncertainty during which, in the background, one hears the voice of his wife Fiorella, (to whom he has been married for 51 years), who reminds Narciso of names he cannot remember; sometimes, cadenced by meaningful silences falling after raw anecdotes, my imagination leads me to see those people, those places and even recreate the smell and noise of bombings. 

The post-war years were hard, but in Narciso's heart can be heard "i bei tempi che furono", (the good times that were),  the time of "….that Florence described in my songs….. Mattinata fiorentina, Firenze sogna…..", "i tempi di una Firenze sana….", Florentine morning….., Florence dreaming…., the times when Florence was good….   
In truth, Narciso Parigi is "a Tuscan from another time", but nevertheless a reality to be proud of.  For yesterday, today, tomorrow.  

He is from Tuscany, actually from the Maremma and the nephew of a true Buttero, as he likes to specify. As you get to know him, you discover that the fierce, modest and peaceful spirit of the Etruscans whom he is passionate about, lives anew in him; from his strong handshake to the last note of his marvelous singing. It is true, for the person we are speaking of is an ambassador of bel canto.

We are referring to Roberto Nencini, a baritone with well-respected ancestry: it is difficult to count the shining prizes in his showcase and all the awards bestowed on him. It will suffice to say that he has performed with Ricciarelli, Cossotto and Casolla and under the direction of Petre, Metha and Muti, to name a few. Nencini though is an artist with multifaceted talent, an artist always looking for challenges. He has in fact worked in theatre and the movies under the direction of Zeffirelli, Comencini, Laudadio and Steno, not to mention a recent visit to the world of Musical.

He was the powerful Mangiafuoco/ Fire Eater of “Pinocchio”, directed by Pooh. On the stage he is amazing. He has a full voice and he is a charismatic interpreter and an actor with inborn qualities at times refined and at times impetuous and ironic. When the lights on the stage go off, years as a performer did not touch the essence of the man. We briefly talked to him as we caught up with him during a time of rest in his native Maremma. “I am here to work on a project that has been on my mind for a long time”. 

What kind of project?  

Opening a school of bel canto. I remember I had to move to studyand I want to offer an opportunity to the young people of this area.And then, among the many requests, I received one from Lima,which I am particularly interested in. They asked me there toperform a Requiem by Verdi.

Why are the bel canto artists sought after abroad and almostignored in Italy?

Because our society is very superficial, the melomeniacs representa small niche. We forget the greatest authors are Italian and we gocrazy for imported music. Abroad, on the other hand, they adorethe Italian bel canto. Weird indeed! Is it a pity to be ignored in your own land and adored abroad?  No. Touring around the world makes you proud, knowing that youhave the honor to represent your own country.  How are the audiences in other countries?
Very attentive! They don’t miss a note…  

Is there a specific occurrence in your career which really stands out?  

It goes back to my debut at the Torre del Lago Puccini Festival. Iwas invited to sing for Simonetta Puccini, niece of the great Maestro.Before I started, she approached me and said abruptly: “I really wantto know how this Edgard sings”. At the end of the romance she askedme why I hadn’t been present at the mass for her grandfather’s soul– I really couldn’t tell her I had not been invited – and she added:“What a shame, grandfather would have loved you!”  

When you work, are you aware of your Maremma ties?

 

If the situation requires it, I reveal my disposition. I remember oncein Amsterdam, the theatre was full and I was about the get on thestage and the well-know singer who was due to perform with mehad a panic attack. I faced her resolutely and literally pushed heron the stage. She gave a beautiful performance and right after shesaid: You really come from the Maremma!” Ever since that day webecame best friends. 

What is the strongest emotion you feel as you sing?

 

An intimate feeling I feel every time I sing in church. When I sing, Ithank God for the precious gift of my voice. 

What about professionally?

 

The first time I sang at the Duomo di Milano with 150 orchestralplayers and 200 choralists behind me in front of an audience of 14,000 completely silent people! Breathtaking.