In September 1710, ten-year-old Agata buried her mother. She was left with her frail grandmother and her incompetent father. Wanting Agata to be protected and educated, her grandmother entrusted her to the care of the Ospedale della Pietà — a convent, orphanage, and music school for girls.
The second and third parts of the book follow Agata’s life and growth within the Ospedale. The story explores grief, faith, community, artistry, mentorship, and freedom.
At first, Agata could not sing at all because she was afraid her own voice would overwrite the memory of her mother’s beautiful singing — that she might forget how her mother once sounded. It was Elena, with care, trust, skill, and patience, who brought out Agata’s voice. When Agata eventually outgrew her, Elena gracefully passed her on to Apollonia for further development. Elena’s genuine care for Agata inspired me deeply; she showed me what it means to be a true teacher.
“… it was right to keep at something as long and faithfully as one could, and then, once one felt that release, to let it go. Apollonia had taken Agata to the next level.”
Margarita is my favourite character. Once a brilliant mezzo-soprano adored by audiences, she willingly made space for the younger generation. She worked behind the scenes, became their stronghold, supported them whenever they needed her, and made sure leadership transitions went smoothly with the girls’ best interests at heart.
I found myself nodding along to many ideas about being an artist. Art is a stewardship of the unique talent entrusted to me. With that comes responsibility — to use my voice not to impress, but for the good of others and ultimately for the Giver of the talent: God.
A lovely book to learn about Agata della Pietà’s life and a mirror for me to reflect on my own music.
Thank you, Jennifer Wizbowski, for the eARC via @netgalley.