Il Teatro della gente summer 2019 Il Teatro della Gente Passeggiando fra i Portici di Strada Maggiore e Via Santo Stefano visita guidata e concerto 21 agosto 2022 The ATTI SONORI musical theater review returns in the summer of 2021 with the Baraccano Orchestra and a series of hospitality, the result of collaboration with other partners. The season is part of Bologna Summer 2021 , the program of activities promoted and coordinated by the Municipality of Bologna and the Metropolitan City of Bologna - Tourist Destination. The review will consist of various concerts, shows, exhibitions and art meetings. From the Kafka project, Lettere a Milena , dedicated to Kafka, consisting of the homonymous show and the exhibition by the artist Andrea Ballardini, set up in the foyer of the Teatro del Baraccano, to the music of the 20th century with the ensemble FontanaMIX; from Bach with Entroterre Festival to contemporary dance with the DROP project. But the main protagonist of the summer season will be the focus dedicated to the Bolognese composer Ottorino Respighi: RESPIGHI project . Guided tours, concerts, theatrical concerts, dance, art meetings, these are the many activities that will animate our tribute to Respighi in the courtyard of the Baraccano Theater and in the Certosa, thanks to the collaboration with the Museum of the Risorgimento and the Mirarte cooperative. To all this will be added the Respighi REC , a collateral project, supported by Bologna, UNESCO Creative City of Music , which will expand the possibilities of use of the Respighi project , through the recording of concerts and the production of multimedia files, videos, photos, interviews. and a printed publication. The shows will be accessible to the public in compliance with all the safety measures provided for by the anti-covid health provisions of the law. IL BARBIERE A FUMETTI

GUYU - PIOGGIA PER IL GRANO 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 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 In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko.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". 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 PROGRAMMA 1. 采薇 Cai Wei arr. Zhang Yaqin Zhang Yaqin, Fu Wanying | guzheng Lai Wenjin | ruan Tan Jing | voce 2. 剑器 Danza della spada Lai Wenjin | liuqin 3. 送我⼀只玫瑰花 Regalami una rosa Yu Qiling | pipa 4. 紫竹调 Suono del bambù arr. Zhang Yaqin 5. 江南 A sud del fiume Fu Wanying, Zhang Yaqin | guzheng 6. 梅花三弄 Tre variazioni di fiori di prugna arr. Zhang Yaqin 7. ⼆泉映⽉ La luna riflessa nella fontana Xie Ziyu | erhu 8. 越⼈歌 Canto di Barcaiolo Tan Jing | voce Lai Wenjin | ruan Zhang Yaqin | guzheng Zhang Yuli | dizi 9. 幽远的歌声 Canto remoto Lai Wenjin | ruan 10. 姑苏行 Un viaggio a Suzhou Zhang Yuli | dizi 11. 林冲夜奔 Lin Chong in fuga Zhang Yaqin | guzheng 12. 盛世国乐 L’età della fioritura arr. Zhang Yaqin Aperitivi a cura di Oui in cucina www.ouiincucina.com BIGLIETTERIA intero 12€ ridotto 10€ riduzioni under 30, over 65, card Cultura ridotto 5€ under 18 Acquista biglietti ATTI SONORI fa parte di Bologna Estate 2024, il cartellone di attività promosso e coordinato dal Comune di Bologna e dalla Città metropolitana di Bologna - Territorio Turistico Bologna-Modena. THE CARTOON BARBER

La 4th di Gustav Mahler eseguita dall'Orchestra del Baraccano, diretta da Giambattista Giocoli SOUND ACTS January 20, 9 pm 4th GUSTAV MAHLER the fourth symphony arranged for chamber orchestra This symphony for voice and orchestra by Gustav Mahler is an absolute masterpiece of the early twentieth century. Composed between 1899 and 1901 (although the lied of the fourth movement for soprano was written in 1892), it will be performed in a transcription for chamber orchestra which, starting from that of 1921 by Erwin Stein (1885-1958), a pupil of Arnold Schönberg, has become a completely original version with a new orchestration. Arianna Rinaldi will give voice to the song of the angels. The Symphony No. 4 in G major is the one that completes the group of the three so-called Wunderhornsymphonie (Symphonies of the Magic Horn), symphonies that can be considered formed by instrumental and vocal movements in which the texts are mostly inspired by Arnim's collection of German popular poems and Brentano Des Knaben Wunderhorn (The magic horn of the child), in which the protagonist is a mythical world that is a bit fairytale, childish and peasant, a little lost earthly paradise. The Fourth is the seal of that world and in its fourth movement there is a magnificent song of the angels praising life in paradise. In Das himmlische Leben (Celestial life), in fact, it is described with childish eyes as a sort of heavenly place, in which wine is drunk at will, asparagus and beans are eaten, the saints are intent on slaughtering animals and cooking. It is an ironic and grotesque vision, in which a shrewd interpretation of the dogmas of Catholicism (St. happy in the heavenly one. Here are some verses: “We enjoy the pleasures of heaven, therefore we flee earthly things. The worldly tumult is not heard in the sky! He lives everything in the sweetest quiet. We lead an angelic life, and yet we are also very cheerful; we dance and jump, jump and sing. St. Peter in heaven is watching us, St. John lets the little lamb go, and Herod, the butcher, is spying ... ». ORCHESTRA DEL BARACCANO director Giambattista Giocoli voice Arianna Rinaldi Federico Parravicini and Sophie Chang violin Aldo Maria Zangheri purple | Enrico Ferri cello Michele Valentini double bass | Alessia Dall'Asta flutes Alessio Gentilini oboe and English horn | Marco Ignoti clarinets | Luca Piovesan accordion A lice Caradente harp | Simone Beneventi marimba Gabriele Genta and Nicolò Tomasello percussion PROGRAM Bedächtig, Nicht eilen, recht gemächlich Thoughtful, not rushed, very comfortable Im gemächlicher Bewegung With quiet movement, without haste Ruhevoll Calm Sehr behaglich "Das himmlische Leben" Very comfortably "The heavenly life" for soprano solo from "Des Knaben Wunderhorn" Ticket 20 € (full) 15 € (reduced) Buy tickets 4th Gustav Mahler 4th Gustav Mahler 4th Gustav Mahler 4th Gustav Mahler 4th Gustav Mahler Arianna Rinaldi THE ORCHESTRA The Baraccano Orchestra was born within the activities of the Piccolo Teatro del Baraccano di Bologna, where the theater production and research project is carried out musical SOUND ACTS . The Orchestra was founded in 2013 and is directed by its artistic director Giambattista Juggles . Within ATTI SONORI he has produced various musical theater projects both independently both in co-production and collaboration with the Teatro Comunale di Bologna e BSMT productions of Bologna. In 2013 he made the musical A Little Night Music ; in 2014 Stephen's Sweeney Todd Sondheim and Histoire du Soldat by Igor Stravinskij. In 2015 At the Opera! , symphonies, interludes and overtures of the Italian opera. In 2016 the 4th Gustav Mahler, the fourth Symphony by Mahler, arranged for chamber orchestra. In 2017, the planned projects are: Popular songs , with soloist Cristina Zavalloni And a new Histoire du soldat with the reciting voice of Ivano Marescotti . The orchestra's vocation is to specialize in the production of musical theater and chamber opera. GIAMBATTISTA GIOCOLI Clarinetist and conductor , born in 1976, he began his clarinet studies with Vincenzo Perrone at the Matera Conservatory, then graduating from the Bologna Conservatory with Maestro Enrico Quarenghi. He performs as a soloist accompanied by orchestras, including the Orchestra of the Teatro Comunale di Bologna (Copland concert, 1998). He has made recordings for Radio Emilia-Romagna, Lucania and for the national RAI-Radio Tre, for RAISAT and on the Internet, for the CLASSICA pay TV channel and for the Japanese television Fuji Television network. Among the CD recordings we remember a monograph on Giacinto Scelsi, several historical works of the twentieth century and world premieres by contemporary authors, and an engraving for the Deutsche Grammophon with Placido Domingo. He had an eclectic training that allowed him to perform using all the members of the clarinet family, from the piccolo in Eb to the bass clarinet, to the basset horn in Mozart's Requiem , broadcast worldwide and on Italian RAI TRE in 2000. He studied with Gaspare Tirincanti, specializing in the contemporary repertoire for solo clarinets. He has collaborated, as bass clarinet, small solo clarinet and clarinet in a row, in the lyrical and symphonic seasons of various orchestras including the Orchestra of the Teatro Comunale di Bologna with which he has collaborated regularly for 10 years. He collaborated with the FontanaMIX Contemporary Music Ensemble, with whom he held contemporary music workshops at the DAMS of the University of Bologna, and with the Sentieri Selvaggi ensemble of Milan, with whom he performed in Belgrade and Uzbechistan. . He studied in Siena at the Accademia Chigiana with Antony Pay and with Alessandro Carbonare at the Academy of Emilia-Romagna AFOS. Among the most important international festivals in which he participated we remember Bologna Festival, Nuove Consonanze di Roma, Angelica Festival, Milano Musica and the Rovereto Mozart Festival. In June 2002 and 2006 he made a tour in Japan with the Orchestra of the Teatro Comunale di Bologna, conducted by the masters Daniele Gatti and Friederich Haider. In duo with piano he is awarded in various musical competitions among which we remember the one in Viareggio 2003 and the Festival delle Arti 2003 in Bologna. He is the artistic director of various musical reviews in the Bologna area, including the musical theater review ATTI SONORI . In 2013 he made his debut as conductor in the production of the S. Sondheim musical A Little Night Music , receiving critical and public acclaim. In the same year he founded the Baraccano Orchestra . In 2014 he directed L ' Histoire du Soldat by I. Stravinskij and the most famous and demanding musical by Sondheim Sweeney Todd . In 2015 he produced the project on opera interludes and symphonies All'Opera! . In December 2015 he made his debut at the helm of the Toscanini Orchestra of Parma . In 2016, in addition to touring the projects produced so far, he made his debut with the 4th Gustav Mahler project and in the Popular songs program, a concert of popular cultured songs, with the voice of Cristina Zavalloni and the harp of Davide Burani. In 2017 he will continue his collaboration with the Toscanini of Parma and will make his debut at the direction of the Rossini Symphonic Orchestra of Pesaro in a small tour in Italy. ARIANNA RINALDI He began his musical career at the age of 13 singing in the White Voice Choir of the Teatro Comunale di Bologna under the guidance of M ° Silvia Rossi; he participates in various opera and concert productions as a chorister and as a soloist, but above all he falls in love with musical theater. At the age of 24 he graduated in Lyric Singing under the guidance of Nemi Bertagni at the A. Boito Conservatory of Parma and at 27 he graduated with honors and honorable mention in Chamber Vocal Music at the GB Pergolesi Conservatory of Fermo with Elisabetta Lombardi. He perfected himself with teachers such as E. Mathis, E. Moser, R. Bruson, D. Baldwin, and in 2013 he won admission in Brussels to the Internationale Lied Masterclass held by C. Stotijn. He gets prizes and acknowledgments at important international competitions: in 2015, second Prize and Special Prize for best chamber interpretation at the "A. Burzi" International Competition in Pesaro; in 2012 finalist in the Opera and Vocal Chamber Music sections at Lauri Volpi; Best Young Award at the City of Basciano Opera Competition of the same year; in 2010 Special Young Talents Award to Giulio Neri of Torrita di Siena; First Prize to Giuseppina Cobelli of Brescia in duo with Lorenzo Orlandi; on the same occasion also the Best Duo, Youth Award and Special Radio Classica-Class Editori awards. His vast repertoire of chamber vocal music ranges from the 1700s to the present day . He regularly collaborates with the pianist Lorenzo Orlandi in the ARLO DUO formation; with the pianist Eleonora Beddini; with the Ensemble Concordanze. He sang Mahler's IV Symphony with the Toscanini Philharmonic Orchestra Ensemble conducted by Michele Mariotti, Pergolesi's Stabat Mater with the Orchestra of the Teatro Comunale di Bologna, conducted by Giuseppe La Malfa. In 2014 the VI Blumenmädchen debuted in the Wagnerian Parsifal at the Teatro Comunale in Bologna, conducted by Roberto Abbado. With LTL opera-studio Nicklausse made his debut in Les Contes d'Hoffmann by J. Offenbach in the theaters of Pisa, Livorno, Lucca and Novara. In April 2015 she sang again at the Teatro Comunale di Bologna in the role of Pastuchyna in Janacek's Jenufa. Winner of the role in the opera studio Silvio Varviso, Cherubino made her debut in August in the Ticino Festival. In 2016 he tackled the Baroque repertoire with the masters Gloria Banditelli and Michele Vannelli and made his debut with Nero in L'Incoronazione di Poppea .

Kafka: Letters to Milena Form Gallery 1 Video

4TH GUSTAV MAHLER Form Clip 1 Clip 2 Clip 3 Clip 4 Gallery

In viaggio con Pulcinella, Campania, dicembre, 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 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 September 6, 9.15 pm SOUND ACTS, Jewish Museum of Bologna Goethe-Zentrum, Embassy of the Czech Republic Cultural Association Lucerne, Czech Center Rome KAFKA: LETTERS TO MILENA theatrical concert Kafka in the time of the Corona virus! It already seems like a mockery in full Kafkesko style. And instead no. It is the reality. This is what happened to us and what is going to happen to you who are finally sitting again, finally together again in the same space, at the same time and in front of the same story shared with us actors and musicians. The story could only be a love story. Fragile and cruel, impossible and eternal as only Kafka can imagine and experience it. These letters to Milena are a continuous game of hiding and revealing oneself by vague allusions. Except that Milena is too intelligent, persevering and sensitive to play along. Here the two lovers push themselves to reveal themselves, to get naked as it had never happened to both of them. All in a time, which is full of dark omens and radical and nefarious changes. The Europe that trembles under their feet turns black, everything falters: the order of things; the knowledge acquired up to that point; and finally their love too. Kafka - irreducible to life - is the only one whose letters we read; we can only imagine Milena's answers, intuit them and it would be interesting to invent them from scratch. I chose to follow a chronological order, yes, but in reverse: that is, from the end to the beginning of their story. A time that is therefore configured simultaneously as a fable and as an omen over which history hangs, pregnant with destruction. The truth emerges only between the lines and at the end of their correspondence. It emerges almost from exhaustion. By reversing time, we proceed backwards towards an obscure origin which in Kafka's letters borders and is always confused with the literary invention that envelops life and the tenuous bond between people in mystery. The background of these letters is a rugged and sublime natural landscape like the circle of sharp rocks that surrounds Merano, where Kafka was on vacation. A wooden tongue separates the spectators, as if it were a bridge thrown over the abyss or a raft on which to drift in life. The only island of certainty, the music, suspended like a mirage, on the stage. In this time of covid, in which everything needs to be rethought: from the relationship with the public and with the stories that we have to bring to the stage: this painful story of an epistolary love seems to me a good omen to radically rethink our way of being inside. the stories we tell. And you, do you write love letters? I thank the Jewish Museum and the Goethe-Zentrum of Bologna with whom I have been collaborating for years for asking me to participate in this new adventure by sharing the stage with the musicians of the Teatro del Baraccano. This sharing of spaces and intentions has been what I have been passionate about for years, especially when, as in this case, it is used to tell a story. The music chosen by the director Giambattista Giocoli of the Teatro del Baraccano for Kafka is by Hindemith and Janacek, works very much in line with the fragility of this story. German Rosary "A book must be the ax to break the sea of ice that is within us" Ein Buch muß by Axt sein für das gefrorene Meer in uns Franz Kafka Ballardini Rosario Tedesco, foto Gianluca Moro Nicola Bortolotti Theatrical adaptation German Rosary with Rosario Tedesco and Nicola Bortolotti scenographic paintings Andrea Louis Ballardini production assistance Laura Ballardini ORCHESTRA DEL BARACCANO director Giambattista Giocoli Silvia Colageo flute Marco Soprana oboe Giovanni Picciati clarinet Mirco Ghirardini bass clarinet Giulia Ginestrini bassoon Imerio Tagliaferri horn Fabio Codeluppi trumpet Single ticket € 10 Buy tickets

December 8, 9pm GUIDO CATALANO the Christmas reading In contravention of its customs and traditions, Guido Catalano he will not spend these magical days in his Anti-Christmas Bunker but, contemptuous of the danger, he will sail Italy with an unprecedented reindeer-proof " Christmas Reading". Poems of happy birth and degrowth, poems with and without candied fruit for young and old, in magical locations to say the least, as befits the period. It will also be an opportunity to touch, buy and be signed by the Poet " POESIE AL MEGAFONO ", the latest editorial effort to be released on November 19 for Rizzoli: not an audiobook, but a real book, made of ink, colors and scent of paper, beautiful illustrations and, above all, of the hands-free voice, including the fly, of our Catalan. A book for enlarged children or for grown-ups, perfect for calming the anxiety of a Christmas gift. Because Christmas is just around the corner, and at Christmas we are all better off, the streets are lit up with colored lights and Santas climb recklessly on our balconies. In collaboration with the friends of the LOCOMOTIV CLUB Bologna. Ticket € 15 + presale rights Buy tickets

Respighi suite 21 August, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 22 August RESPIGHI SUITE concert with the Baraccano Orchestra 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. RESPIGHI Suite Orchestra del Baraccano Giambattista Giocoli 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 Single ticket € 10 Buy tickets

Giuseppe Guarrera per Entroterre Festival Il programma proposto questa sera è frutto di scelte che hanno a che fare con vari momenti della mia vita personale, momenti che hanno generato curiosità profonde legate agli stati d’animo che ciascuno dei brani mi sembra esplorare. L’apertura della serata, con la sonata di Brahms, offre lo spazio giusto per cercare nel dialogo col violino un momento di speranza e freschezza. La delicatezza delle melodie, la scrittura cameristica equilibrata e il territorio tonale del brano mi sembrano una continuazione organica del lascito beethoveniano. Come spesso accade coi grandi compositori romantici tedeschi, consciamente o inconsciamente iniziano dal punto estremo lasciato da Beethoven in ogni genere. Questo è accaduto con le sinfonie, i quartetti, le sonate e in questo caso le sonate per violino e pianoforte. La prima sonata di Brahms mi sembra scritta sulla scia dell’ultima sonata per violino di Beethoven, anche questa in sol maggiore. Se nelle grandi sonate che ho avuto modo di suonare con Mayumi (Kreutzer, Frank, Strauss) i due strumenti sono spesso in una posizione di grandiosa ed epica lotta, Brahms in questo brano mette in luce diverse possibilità di dialogo, creando un’interazione più intima e dai toni più calmi. Intimità che lega il brano anche ai gioielli nascosti di Schumann, gli Albumblätter, dove in poche battute si dipingono con grande poesia stati d’animo contrastanti e profondamente umani. I Pezzi di fantasia op.12 sono brani che ho imparato al mio ritorno da un viaggio in India lo scorso anno. Posso sinceramente confermare che lo stereotipo del viaggio spirituale in India che cambia la vita è fortemente giustificato. Ricordo ancora il senso di meraviglia che ho provato quando dopo quasi un mese di silenzio dalla Musica, ho suonato le prime note di Des Abends al mio rientro a Berlino. Non scorderò mai quel momento di meraviglia e incredulità, il suono del pianoforte mi sembrava essere troppo bello per essere vero ed è quella stessa sensazione che vorrei regalare al pubblico. Gli altri brani dell’opera 12 sono momenti di grande instabilità emotiva, che oscillano tra il sogno, la disperazione, gli slanci, le passioni tipiche di Schumann, squilibri in cui si riflette molto la mia natura, con improvvisi squarci su mondi estremamente lontani... gli stessi mondi metafisici di cui a volte, per pochi millesimi di secondi, mi è sembrato di percepire l’odore in India. La parentesi su Ligeti è una transizione sul Novecento e un omaggio ad un compositore, nel centenario dalla nascita, che è già diventato un classico. La Musica Ricercata sembra una risposta divertita alla dodecafonia, dove il criterio compositivo (ogni brano costruito su una, due, tre, quattro etc. note) diventa motivo di sperimentazione pura. Il concerto, o almeno il programma stabilito, si conclude con la festosa Venezia e Napoli di Liszt, compositore e uomo che considero tra i più interessanti nel mondo musicale. Frutto di viaggi e "pellegrinaggi" in giro per l’Europa, raccoglie le canzoni popolari del tempo a Venezia (La biondina in gondoleta, nel dialetto veneto) e Napoli (Tarantella e Fenesta vascia, canzone d’amore napoletana) trasformandole in uno spettacolo per le orecchie di altissima classe pianistica. Anche questo brano ha tanto valore personale, studiarlo è stato un consiglio del mio mentore S. Gadjiev: egli mi ha spinto a cercare attraverso Venezia e Napoli una riconnessione alle mie origini siciliane dopo anni (16, la metà della mia vita tra pochi giorni, il 27 agosto) di peregrinaggi nel mondo, odissee necessarie per studiare e apprendere da tante culture diverse. La Musica è sempre stata per me un modo di comunicare le verità dell’anima. Non sempre ci si riesce, ma questa meta all’orizzonte è sempre rimasta ben visibile e qualche volta sembra quasi di raggiungerla. Giuseppe Guarrera PROGRAMMA e FORMAZIONE MUSICALE ore 19:00 Aperi-concerto Giuseppe Guarrera pianoforte Mayumi Kanagawa violino J. Brahms Sonata n.1 per violino e pianoforte Aperitivo con gli artisti al Bar del Teatro Baraccano: tariffe à la carte ore 21.30 Recital pianistico Giuseppe Guarrera pianoforte R. Schumann Fantasiestücke op. 12 G. Ligeti Musica Ricercata F. Liszt Venezia e Napoli www.entroterrefestival.org Biglietteria apericoncerto + concerto serale €15 Buy tickets July 9 apericoncerto 7€ (aperitivo non compreso) concerto serale €10 Acquista biglietti Acquista biglietti 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". 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

Gallery Director Gallery Orchestra

Spettacolo di teatrocirco Collective production of the Bismantova Theater, Parpignol Theater and Compagnia Circolabile 6 December, 8.30 pm PLATO theater circus show by Andrea Menozzi , Francesco Marchesi and Christel dicembre An attic, an unstable light, objects piled up and assembled, improbable mechanisms, a man, Plato . Plato seems to have always lived alone in this universe, where his inventions shape his daily life and his relationships. Like everyone, he has built his own routine, his duties and obligations, his pastimes, his relationships, his alter ego. It moves and evolves in this reality, where it creates daily life energy and where each object becomes part of a vital ritual. Reality is made up of things we know and the idea we build of them. But what if Plato discovers the outside world and humans? This theatrical performance intertwines mime and circus arts to offer a poetic and amusing transposition of the allegory of the cave , a myth presented by Plato in Book VII of the Republic . Indeed "Plato" he takes up with humor and sensitivity the beacon theme of the allegory, the perception of reality and its transmission. Andrea Menozzi , the only actor on stage, reinterprets every object, every movement, in order to convey Plato's reality to the public. "Plato" was born from the collaboration between the Bismantova Theater , the Parpignol Theater and the Compagnia Circolabile , and from the study of two texts: in addition to " La Repubblica " by Plato, also " The Invisible Cities " by Italo Calvino. How the Great Khan built in his imagination the cities that Marco Polo described to him, Plato he composes with his fantasy, his out of phase universe, to offer it to the incredulous eyes of the public. with Andrea Menozzi Ticket 12 € Buy tickets