Il Barbiere a fumetti, Orchestra del Baraccano, Barbiere di Siviglia, Rossini, manga Il Barbiere a Fumetti ORCHESTRA DEL BARACCANO director Giambattista Giocoli Francesco Fagioli flute Stefano Franceschini first clarinet | Mirco Ghirardini second clarinet Luca Piovesan accordion Giulia Ginestrini bassoon (6 July) | Umberto Codecà bassoon (8 and 9 July) Imerio Tagliaferri first horn | Benedetto Dallaglio second horn Fabio Codeluppi trumpet | Valentino Spaggiari trombone Gianluigi Paganelli bass tuba Tsukishiro Yūko manga drawings conceived by Giambattista Giocoli musical arrangements Fabio Codeluppi and Giambattista Giocoli digital coloring Michele Cerone BIGLIETTERIA matinée ore 11 biglietto unico 5€ (acquistabile solo in loco) serale ore 20.30 intero 15€ ridotto (under 30, over 65, card Cultura) 10€ ridotto (under 18, studenti) 5€ Acquista biglietti Courtyard of the Rocca | P.le Marconi, 1 - Novellara (RE) 6 July, 9.30 pm San Luigi Room | via Luigi Nanni, 14 - Forlì July 8, 9.30 pm Arena Shows | via Repubblica, 10 - Ozzano dell'Emilia (BO) 9 July, 9.30 pm THE CARTOON BARBER Il Barbiere a Fumetti was born from a musical idea: Vincenzo Gambaro's suite on the music of Rossini's Opera, arranged for wind orchestra. In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko. Two apparently distant languages, united however by the story and the expressiveness. The opera plunges into the contemporaneity of Japanese comics, the immediacy of the visual art is intertwined with the sound, giving back a new and original version of the work that can also speak to a young and contemporary audience. The new arrangements that ATTI SONORI has produced for chamber orchestra have given life to a new score for 10 real parts , in which the work is stripped of the recitative parts and stages only the music, while the comics are projected onto a backdrop. scenographic and tell the story through the suggestion of the images. A few short captions help to better understand the tangled history of the "Barber of Seville". The Barber of Seville for Manga music and drawings

vite da chansonnier e canti ribelli, con Giangilberto Monti Fort Alamo Association 3 and 4 March, 9 pm CURSED FRENCH chansonnier lives and rebellious songs After cabaret performances, comic-musical essays and theatrical projects, Giangilberto Monti summarizes the French repertoire he has always loved. His translations of Vian, Ferré, Gainsbourg and Renaud, have been published on musical albums, essays and historical books, such as his Maledetti Francesi (2011, NdA), cited by Gianni Mura in Repubblica as one of the books to remember about that year. Here the Milanese chansonnier tells off the cuff the beginnings of the French songwriter, recalls anecdotes and fragments of history from beyond the Alps, talks about how the poetic song went through the twentieth century. And it does so by interpreting the most beautiful songs of the French maudits par excellence: from the versatility of Boris Vian to the desperate and barricaded texts of Leo Ferré, from the poetic provocations of Serge Gainsbourg to the heart-breaking stanzas of Jacques Brel, up to the jeers of Georges Brassens, one of the main inspirers of the Italian singer-songwriter, and to the ironic hardness of Renaud, the last of the classic French maudits. The utopias and rebelliousness of all time can be found in the words of these artists, between folk and author ballads, which Monti interprets accompanied by his musicians. A musical narration from a passionate and curious conductor, showing the public that contamination between poetry, music and comedy that has always been the heritage of our French-speaking cousins. From the press "Monti chansonnier, bravo and cursed, in the name of Vian" - The Republic "Monti's performance flows away with unusual vivacity, amidst libertarian noises, celebrations of women, love, and linguistic and moral transgression" - The newspaper "Notes cursed in freedom by Giangilberto Monti" - The poster . with Giangilberto Monti Ticket 20 € (full), 15 € (reduced) Buy tickets Giangilberto Monti Giangilberto Monti Giangilberto Monti GIANGILBERTO MONTI Writer and chansonnier , Giangilberto Monti wrote his first songs in the mid-seventies. He attended the world of independent labels of that period, met the producer Nanni Ricordi and the songwriters Ricky Gianco and Ivan Cattaneo and graduated in Engineering in Milan, signing immediately afterwards for CBS, now Sony Music. In his first albums ( The order is public?, 1978; Il giro del giorno , 1979; And tomorrow?, 1981) he alternates poetic texts of civil commitment with sarcastic passages on the society of the time. He undertakes a parallel theatrical activity : he studies singing with Cathy Berberian, acts with Dario Fo and Franca Rame , graduates from the Civic School of Dramatic Art in Milan and writes with Flavio Premoli, keyboardist of the PFM, the rock-opera Guardie e Ladri (1982 ), an album that features among others Alberto Camerini, Francesco Di Giacomo del Banco, Anna Oxa and vocalist Bernardo Lanzetti. Always with Premoli he writes songs for Fiordaliso and Anna Oxa, signing with the violinist Mauro Pagani My Race (1990), for Mia Martini. During the eighties he frequented the environment of the Zelig in Milan, collaborating as an author with the comedians Aldo Baglio and Giovanni Storti - of the future trio Aldo, Giovanni & Giacomo - the stand-up comedian Marco Della Noce and the duo of the Fichi d'India. He writes and acts with the actress Lella Costa , realizes theater-song shows with the jazz player Gaetano Liguori and the composer Sergio Conforti, the Rocco Tanica of Elio & Le Storie Tese, signs scripts for the Italian Swiss Radio. After having staged the musical repertoire of Dario Fo (1999-2000) with the jazz player Laura Fedele, he developed a writer and essayist activity with Garzanti, who published the Dictionary of Cantautori (2003-2005), signed with Veronica Di Pietro, and the Dictionary of Comedians and Cabaret (2008). In the same years he recalls the 1968 period with the show A little after the lead and the album of unreleased songs Ce n'est qu'un début , to be followed by the Comicanti CD - both published with Carosello Records - in which he duets with a fifteen comic artists, interpreting the best pieces of Italian musical comedy, from Ettore Petrolini to Dario Fo. His theatrical version, directed by Vito Molinari, sees him on stage with Flavio Oreglio and Stefano Nosei (2010-2011). Since 1994 he has developed his passion for French music : he undertakes a long research on the work of Boris Vian, curating with Giulia Colace the volume Boris Vian-The songs (Marcos y Marcos), he publishes a choice of songs by the French artist. , which he adapted into Italian (Manifesto) and stages La Banda Bonnot - the story of the anarchist bandit Jules Bonnot , based on unreleased songs by Vian - which in 2004 won the Prix Suisse as a musical radio play and was released on CD for the FolkClub Ethnosuoni. Two years later it will be the turn of Maledette Canzoni - a discographic tribute to Vian, Léo Ferré and Serge Gainsbourg, of which Monti is the first in Italy to translate the songs - followed in 2011 by the Belle Équipe project, a musical show with comedian Alberto Patrucco and singer-songwriter Andrea Mirò, preceded by Maledetti Francesi (NdA, 2010), a book in which lives of the chansonniers, the same ones who have marked the history of our songwriting.

Stagione ATTI SONORI estate 2018. 5 August, 9.30 pm DISENCHANTED 8 August, 9.30 pm POPULAR SONGS 12 August, 9.30 pm CONCERT FOR JACK LONDON August 16, 9.30 pm THE FISHER AND THE CROW 19 August, 9.30 pm THE DANCING FINDER August 21, 9.30 pm THE BARBER IN COMICS english version 24 August, 9.30 pm THE CARTOON BARBER Italian version

January 31, 2020, matinee for schools and 8.30 pm I HEAVEN - FRIDA KHALO " Is it legitimate to invent new verbs? I want to give you one: I heaven, so that my wings can spread out beyond measure to love you without borders. " (Frida Kahlo) A show that traces the life of Frida Kahlo against the backdrop of revolutionary Mexico. Shots of a tormented, passionate, violent existence; of a crazy woman, very sweet and in love with life. The show revolves around the love that Frida had for her land, for painting, for Diego, for life, for love itself. The languages to tell it range from theater to music: the text is made up of stories, letters from his diary, the voice of Diego Rivera that gives different nuances to the known figure of the painter. And finally, the music. Songs of the Mexican tradition carefully chosen to enrich and embellish the story, left to the skilful live interpretation of Massimo Donno on voice and guitar and Francesco Pellizzari to percussion. The first meeting with Frida took place in 2015 during a torrid summer in Bologna. "Here, read this!", My roommate gave me a book: "Pino Cacucci ¡Viva la vida!". On the cover a face, still little known. From that August my personal research on Frida began: with passion I studied her life and her works, Diego Rivera and muralist art, Mexico and the revolution of the early 1900s; I discovered my friendship with Leon Trotsky and the one with great artists of the time (T. Modotti, L. Matiz, A. Breton, LA Bravo), the affection for his friend as well as doctor L. Eloesser and the bond with his family, in particular with his sister Cristina. This was accompanied by a constant listening and growing interest in Mexican music: from the pre-Columbian sounds to the corrido, up to reach the great artists of yesterday and today (P. Infante, C. Vargas, L.Downs ...). Thus the desire to tell others, you, the wealth of this woman has made its way. Frida gave life to what she loved. He spared nothing, he gave himself all. This awareness raised a question in me: what am I giving my life for? I live with my peers the difficulties of the working world, the nonsense, the injustices. We stagger in a space devoid of guidelines, we cling to the first who passes and who tells his truth, we rape in "hope." that one day ... "; meanwhile they eat on our heads. In all this chaos, what can we do? Choose. Ask ourselves every day: for what, to whom am I giving my life? Frida continues to suggest the answer. Aurelia Cipollini by and with Aurelia Cipollini Massimo Donno voice and guitar Francesco Pellizzari percussion heading off Diego Rivera Tomas Acosta Ticket 12 € (full), 10 € (reduced) Buy tickets frida-14 frida-04 frida-13

Scheda Kafka, Lettere a Milena un progetto ATTI SONORI/Teatro del Baraccano Museo Ebraico di Bologna Centro Ceco di Roma Associazione Culturale Italo Ceca Lucerna RAD Respighi Ancient Dances concerto teatrale DNA and Orchestra del Baraccano approach Ottorino Respighi's Suites with the intention of giving new life to tradition, transfiguring it through the contemporary body, which re-welcomes the ancient to feed on it, recognizes its roots and evolves towards the present. Thus emerges the urgency to restore visibility to the realities that have always existed within each of us, but who have not yet found their place and surfacing time. Kafka Lettere a Milena CONCERTO TEATRALE Franz Kafka (Praga 1883- Kierling 1924) adattamento drammaturgico Manuela De Meo Manuela De Meo e Pietro Traldi voci recitanti dipinti scenografici originali Andrea Louis Ballardini Orchestra del Baraccano direttore Giambattista Giocoli Filippo Mazzoli flauto | Alessio Gentilini oboe Giovanni Picciati clarinetto | Davide Braco clarinetto basso Gianni Dallaturca tromba | Paolo Faggi corno Marco Taraddei fagotto Musiche di Paul Hindemith Settimino Leoš Janáček Mládí ORCHESTRA DEL BARACCANO L'Orchestra del Baraccano nasce all'interno delle attività del Teatro del Baraccano di Bologna, dove viene realizzato un progetto di produzione e ricerca sul teatro musicale da camera. È stata fondata nel 2013 ed è diretta dal suo direttore artistico Giambattista Giocoli. L’Orchestra ha prodotto numerosi spettacoli di teatro musicale sia autonomamente sia in coproduzione e collaborazione con altri soggetti. L’obiettivo dell'Orchestra è suonare, con formazioni per orchestra da camera, opere musicali originariamente composte per grandi orchestre, producendo nuove partiture suonate "a parti reali”. Tra le produzioni ricordiamo: lo spettacolo L’histoire du Soldat di Igor Stravinskij; 4th Gustav Mahler , la Quarta sinfonia di Mahler, arrangiata per orchestra da camera; il progetto All’Opera! , sinfonie, intermezzi e ouverture dell’Opera lirica italiana ed i musical A Little Night Music e Sweeney Todd di Stephen Sondheim. Nel 2017 ha realizzato Popular songs , con solista Cristina Zavalloni; un nuovo L’histoire du soldat con la voce recitante di Ivano Marescotti ed Il Barbiere a Fumetti , "Il Barbiere di Siviglia" per musica, animazioni e fumetti Manga, disegnati da Tsukishiro Yuko, in coproduzione internazionale con il Giappone. Nel 2019, in occasione del 100 anni della nascita del Bauhaus, ha prodotto il concerto IMMUTEA 1919 , in collaborazione con Bologna Design Week. Nel 2021 sarà il centro degli appuntamenti di Respighi project , un progetto sul musicista e compositore bolognese Ottorino Respighi e di Progetto Kafka . Nel 2022 è stata il fulcro del progetto PON VoltONE su AIDA , una riduzione dell’Opera di G. Verdi per ensemble e voce recitante. Nel 2022, con il programma RESPIGHI suite , è stata in tournée in Repubblica Ceca e Polonia, nel 2023 in Ungheria e nel 2024 in Croazia. GIAMBATTISTA GIOCOLI Inizialmente Clarinettista, nato nel 1976 a Matera, studia clarinetto nella sua città natale diplomandosi poi al Conservatorio di Bologna. Come strumentista studia con Perrone, Quarenghi, Tirincanti, Pay e Carbonare, iniziando subito una intensa attività concertistica in Italia e all’estero. Effettua registrazioni per Radio italiane ed estere, incidendo diversi cd di musica classica e contemporanea. Per 10 anni collabora con le stagioni liriche e sinfoniche dell’Orchestra del Teatro Comunale di Bologna con la quale effettua molteplici tournée in Italia e all’estero. Ha collaborato con gli ensemble di Musica Contemporanea FontanaMIX di Bologna e con l’ensemble Sentieri Selvaggi di Milano, con una attività concertistica in Europa e Asia. Nel 2013 debutta come direttore d'orchestra nella produzione di Musical americani e nello stesso anno fonda l'Orchestra del Baraccano, con la quale produce progetti di Teatro Musicale da camera e progetti sinfonici che porta tutt’ora in tournée. Dal 2015 collabora come direttore ospite con l'Orchestra della Fondazione Toscanini di Parma e dal 2017 con l’Orchestra Sinfonica Rossini di Pesaro. Nel 2018 inizia a collaborare anche con la Fondazione Orchestra Lucana e i Virtuosi dell’Opera Italiana. Nel 2022, con la sua Orchestra è stato in tournée in Polonia e Repubblica Ceca, nel 2023 in Ungheria. E’ direttore artistico del Teatro del Baraccano di Bologna e del progetto di ricerca e produzione di Teatro Musicale ATTI SONORI di Bologna. ANDREA LOUIS BALLARDINI Andrea Louis Ballardini (1960), è nato a Praga dove suo padre insegnava pittura e tecnica del mosaico all’Accademia delle Belle Arti. Dopo gli studi d’arte nel 1982 si è trasferito a Bologna e iniziato la sua carriera di restauratore e pittore. Dal 1984 ha esposto i suoi dipinti in mostre collettive e personali in Italia ma anche in Francia, Malta e in Repubblica Ceca. Ha illustrato raccolte di poesia italiana contemporanea e madrigali di Carlo Gesualdo da Venosa. Ha redatto e una serie di vite d’artisti per un progetto editoriale pubblicato in Svizzera. Le sue intense relazioni con gli ambiti culturali praghesi lo hanno portato a fondare a Bologna un’associazione che promuove scambi culturali italo -cechi. Nel 2014 è stato eletto, unico italiano, membro della storica Associazione degli artisti cechi Manes per la quale ha scritto testi e saggi introduttivi per cataloghi e importanti mostre a carattere storico al Castello di Praga. Di recente ha eseguito le tempere per le scenografie del progetto teatrale musicale Franz Kafka - Lettere a Milena andato in scena a Bologna al Teatro del Baraccano nel settembre 2020. per cataloghi e importanti mostre a carattere storico al Castello di Praga. Di recente ha eseguito le tempere per le scenografie del progetto teatrale musicale Kafka - Lettere a Milena andato in scena a Bologna al Teatro del Baraccano nel settembre 2020. MANUELA DE MEO - PIETRO TRALDI Sono entrambi diplomati come attori alla Civica Scuola d'Arte Drammatica Paolo Grassi di Milano. Sono fondatori e direttori artistici del progetto Sementerie Artistiche, compagnia teatrale e centro culturale che sorge all’interno di un’azienda agricola nella pianura bolognese. Il progetto è attivo dal 2016 e ha visto l’organizzazione di rassegne, residenze artistiche e percorsi di formazione. Traldi e De Meo hanno collaborato a lungo con il Banfield Teatro Ensamble di Buenos Aires come attori e insegnanti. Sono anche attori negli spettacoli della compagnia e in progetti esterni con altri artisti. Tra il 2008 e il 2011 lavorano come attori indipendenti. Manuela De Meo inizia la sua carriera in teatro lavorando con Alessandro Genovesi, Massimo Castri, Marco Plini, Federico Grazzini. Pietro Traldi inizia a la vorare in teatro con Maurizio Schimdt e Federico Grazzini ed è attivo anche per cinema e tv apparendo tra i protagonisti della fiction I delitti del cuoco. Nel 2020 interpreta Marino Mazzacurati in Volevo nascondermi di Giorgio Diritti. Nel 2011 i due attori uniscono di nuovo il loro percorso artistico partecipando alla produzione di Karamazov con la regia di Cèsar Brie per ERT Emilia-Romagna Teatro. Da allora continueranno a lavorare con Brie tra l'Italia e l'Argentina recitando sia in italiano che in spagnolo, fino alla fondazione della compagnia Sementerie Artistiche e all'apertura dell'omonimo centro culturale. Dal 2016 dirigono Sementerie Artistiche scrivendo, producendo e distribuendo spettacoli, organizzando rassegne teatrali, corsi di formazione, workshop e progetti sociali. Tra il 2016 e il 2019 hanno presentato i loro spettacoli anche in Argentina (Banfield Teatro Ensamble, Teatro Picadero, Teatro Metodo Kairòs, Festival Internacional de Teatro de La Plata) e tenuto seminari di approfondimento attoriale alle Sementerie Artistiche in Italia e presso il Banfield Teatro Ensamble di Buenos Aires grazie al sostegno dell'Istituto di Cultura Italiana di Buenos Aires e del bando Movin'Up.

Viaggio in Basilicata 2025 Courtyard of the Rocca | P.le Marconi, 1 - Novellara (RE) 6 July, 9.30 pm San Luigi Room | via Luigi Nanni, 14 - Forlì July 8, 9.30 pm Arena Shows | via Repubblica, 10 - Ozzano dell'Emilia (BO) 9 July, 9.30 pm THE CARTOON BARBER The Barber of Seville for Manga music and drawings La Basilicata mi pare più di ogni altro, un luogo vero, uno dei luoghi più veri del mondo […] Qui ritrovo la misura delle cose […] La tensione interna di questo mondo è la ragione della sua verità: in esso storia e mitologia, attualità e eternità sono coincidenti. (Carlo Levi) Il Barbiere a Fumetti was born from a musical idea: Vincenzo Gambaro's suite on the music of Rossini's Opera, arranged for wind orchestra. In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko. Two apparently distant languages, united however by the story and the expressiveness. The opera plunges into the contemporaneity of Japanese comics, the immediacy of the visual art is intertwined with the sound, giving back a new and original version of the work that can also speak to a young and contemporary audience. The new arrangements that ATTI SONORI has produced for chamber orchestra have given life to a new score for 10 real parts , in which the work is stripped of the recitative parts and stages only the music, while the comics are projected onto a backdrop. scenographic and tell the story through the suggestion of the images. A few short captions help to better understand the tangled history of the "Barber of Seville". QUOTA INDIVIDUALE DI PARTECIPAZIONE € 1.100,00 * supplemento camera singola € 120,00 numero minimo partecipanti: 15 [*salvo adeguamento tariffe voli] voli RYANAIR 26 aprile Bologna-Bari 16.50 >18.10 0 1 maggio Bari-Bologna 23.40 > 01.00 ISCRIZIONI CON VERSAMENTO DELL’ACCONTO 30% QUOTA VIAGGIO tramite bonifico bancario indicando cognome, nome, causale “Basilicata 2025” IBAN IT 60P0306902493100000005530 Intestato a j&K Jabalito & Karma Viaggi di Claudio Cristofori INTESA SAN PAOLO SALDO 30 GG PRIMA DELLA PARTENZA LA QUOTA COMPRENDE - volo diretto Ryanair A/R - 5 pernottamenti con prima colazione in hotel 4* - 5 cene e 1 pranzo - trasferimenti in pullman privato come da programma - due spettacoli del Festival di Orsoleo - visite e ingressi come da programma - guide culturali qualificate - presenza e assistenza coordinatore del viaggio - assistenza accompagnatore agenzia LA QUOTA NON COMPRENDE - assicurazione medico-bagaglio e contro annullamento - trasferimenti al di fuori del programma - pasti non menzionati nel programma - mance - extra di carattere personale e tutto quanto specificato alla voce «la quota comprende» Per approfondimenti sui contenuti del viaggio Vincenza Maugeri cell. 349.7774749 INFO E PRENOTAZIONI J&K Jabalito& Karma Viaggi Claudio Cristofori cell. 327.0503296 | 351.6957728 jabalitokarma@gmail.com

Kafka, Lettere a Milena, Orchestra del Baraccano June 20, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 21 June SOUND ACTS, Jewish Museum of Bologna Goethe-Zentrum Bologna, Embassy of the Czech Republic in Rome, Czech Center in Rome Lucerne Cultural Association KAFKA: LETTERS TO MILENA theatrical concert Starting from the correspondence that Franz Kafka had with Milena Jesenská in 1920, a show was built, declined through three expressive languages: words, music and images. The particular intensity of Kafka's "letters" (it is only Kafka's letters to Milena and not vice versa) is underlined by the music of the Septimus by Paul Hindemith and by Mládí by Leoš Janáček , while the specially made paintings amplify their meaning. and stimulate its suggestions. The selection of the letters and the theatrical adaptation were handled by Rosario Tedesco , actor and director; the musical part by maestro Giambattista Giocoli and the paintings were made by Andrea L. Ballardini . Kafka Letters to Milena Franz Kafka (Prague 1883- Kierling 1924) Letters to Milena And A message from the emperor Before the Law Prometheus In knight of the bucket Wish, to become an Indian music Septet - Paul Hindemith Mládí - Leoš Janáček Kafka, lettere a Milena Rosario Tedesco, foto Gianluca Moro Nicola Bortolotti reciting voices Rosario Tedesco and Nicola Bortolotti ORCHESTRA DEL BARACCANO director Giambattista Giocoli Alessia Dall'Asta flute Marco Gironi oboe Giovanni Picciati clarinet Mirco Ghirardini bass clarinet Fabio Codeluppi trumpet Imerio Tagliaferri horn Luca Reverberi bassoon translation and theatrical adaptation German Rosary scenographic paintings Andrea Louis Ballardini production assistance Laura Ballardini Single ticket € 10 Buy tickets

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Mysliveček 21 August, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 22 August RESPIGHI SUITE The Ancient arias and dances for lute are a collection of free transcriptions from pieces for lute of the sixteenth and seventeenth centuries, created by Ottorino Respighi and organized in three suites for different orchestral ensembles. In 1917 Respighi created the First Suite , in 1923 the Second Suite , in 1931 the Third Suite . His wife Elsa collected and rearranged them all in 1937. In our original arrangement the eight real parts that make up the ensemble try to reproduce all the orchestral colors conceived by Respighi, with the aim of creating a fascinating synthesis between ensuring the presence of fundamental instruments for Respighi, such as the harp and the harpsichord, and the search for a new and modern sound with the inclusion of accordion and bass tuba. ORCHESTRA DEL BARACCANO director Giambattista Giocoli violin Gabriele Bellu | flute Filippo Mazzoli bassoon Luca Reverberi | trumpet Fabio Codeluppi harp Alice Caradente | accordion Alexey Manyak harpsichord Maria Luisa Baldassari | bass tuba Gianluigi Paganelli arrangements by Fabio Codeluppi , Giambattista Giocoli and Filippo Mazzoli MYSLIVEČEK il divino Boemo concerto per ensemble di fiati JOSEF MYSLIVEČEK (Praga, 1737 - Roma, 1781) Ottetto n° 1 (1778) in MIb maggiore durata 18 minuti per 2 oboi, 2 clarinetti, 2 corni e 2 fagotti Allegro maestoso Larghetto un poco sostenuto Tempo di Menuetto LUDWIG van BEETHOVEN (Bonn, 1770 - Vienna, 1827) Ottetto per fiati in MIb maggiore Op. 103 (1792) durata 23 minuti per 2 oboi, 2 clarinetti, 2 corni e 2 fagotti Allegro Andante Minuetto Finale: presto JOSEF MYSLIVEČEK (Praga, 1737 - Roma, 1781) Ottetto n° 2 (1778) in MIb maggiore durata 14 minuti per 2 oboi, 2 clarinetti, 2 corni e 2 fagotti Allegro spiritoso Largo, sotto voce RONDO Allegretto

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Home RESPIGHI SUITE la musica danza nella sabbia AIDA I ALREADY WIDE MY ARMS KAFKA, LETTERS TO MILENA RESPIGHI SUITE PULCINELLA all'improvviso! TO THE WORK THE BARBER IN COMICS RADIO RITMO HISTOIRE DU SOLDAT POPULAR SONGS 4TH GUSTAV MAHLER SASSOLINO CITIES OF MUSIC RESPIGHI SUITE MYSLIVEČEK, IL DIVINO BOEMO SWEENEY TODD

Vivaldi Six 12 August, 9.30 pm | Courtyard of the Baraccano Theater Entroterre Festival VIVALDI SIX six sonatas for cello and continuo by Antonio Vivaldi LUIGI PRETOLANI He had a good career as a cellist, graduating in Florence in 1991, specializing in Munich with teachers of international level, giving more than 500 concerts, in various formations, throughout Europe, recording for radio broadcasts and recording three CDs. In 1997 he began a new professional path by founding the Bruno Maderna Orchestra of Forlì and immediately took over the organizational and administrative leadership as President. In a few years from its foundation, the B. Maderna Orchestra, thanks also to the adequate funding of the Cassa dei Risparmi Foundation and the agreement with the Municipality of Forlì, has been able to be appreciated nationally and internationally, becoming the main production body within the programming of the Diego Fabbri Theater in Forlì, a permanent artistic ensemble in the Summer Music Festival of the Province of Forlì and Cesena. In 2002 Luigi Pretolani was commissioned by the Ravenna Festival to manage the orchestra, the choir and the setting up of the stage for the Musicians of Europe project which saw Maestro Riccardo Muti conducting 93 orchestral first parts of the main European orchestras and 85 choristers, in Ravenna, at Avery Fischer Hall in New York, and at Ground Zero, for a commemoration in honor of the victims of 9/11 in New York. ANTONIO MOSTACCI Antonio Mostacci graduated with Sante Amadori at the Pesaro Conservatory and studied with Franco Rossi, J. Starker and Ivan Schiffoleau in Paris. He began his concert activity at the age of 16 in a Trio with his father Luigi Mostacci at the piano and the clarinetist Italo Capicchioni (Italian Chamber Trio) playing in all the most important European cities. He won the first prize at the Vittorio Veneto, Catanzaro, Stresa, Moncalieri competitions and was awarded in international competitions such as "Maria Canals" in Barcelona and "Viotti" in Vercelli. He actively dedicates himself to Chamber Music and to the teaching of the Cello at the Conservatory of Bologna. He has also played as a soloist with various orchestras in Italy and abroad, in Duo with Miriam Garagnani throughout Europe, the United States and Japan and in Australia with the Trio Metropolis (Annamaria Morini, Flute and Miriam Garagnani Pianoforte). He was part of the Quartet formed by the violinist Nigel Kennedy on the occasion of the Chechester Music Festival (GB). He collaborated and collaborates as first cello with the orchestra of the Massimo Bellini Theater in Catania, with the Marche Regional Orchestra, with the Philharmonic and the Municipal Theater of Bologna, "gli Archi di Firenze", the Officina Musicale (L ' Eagle). He is currently the first cello of the Tirol-Festspiele Erl (Austria) and of the Camerata Montegral conducted by Gustav Kuhn. He has held Master Classes in Italy, United States, Finland, Czech Republic. He plays a 1730 M.Klotz cello owned by the HPH Privatstiftung Foundation . Luigi-PretolaniG IMG_0764 Single ticket € 10 Buy tickets