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Progetti formativi per le scuole 2025 L'ANGELO DELLA MEMORIA spettacolo di teatro musicale sulla memoria della Shoah gennaio 2025 Nato da un’idea di Giambattista Giocoli , questo spettacolo vuole essere una riflessione sulla criminale aberrazione delle deportazioni e dei campi di sterminio nazisti. Un ricordo straziante, ma mai retorico, di tutte le vittime del nazi-fascismo. Nell’inverno del 1940 il compositore francese Olivier Messiaen si trovava prigioniero nel campo tedesco di Stalag VIIIA, in Sassonia. Non era l’unico musicista e questo lo stimolò, nonostante la durezza della vita nel campo, a comporre un pezzo per gli esecutori che vivevano con lui. Il risultato fu una grande composizione in 8 movimenti: il Quatuor pour la fin du temps , ad oggi uno dei capisaldi della storia della musica da camera del ‘900. Il violinista ed il clarinettista avevano con sé i propri strumenti; nel campo si trovò un violoncello al quale mancava una corda ed un vecchio pianoforte al quale ogni tanto si incastravano i tasti; così, nel gennaio del 1941, di fronte ad un insolito pubblico, costituito da oltre 5.000 prigionieri provenienti da Francia, Belgio, Polonia ed altre nazioni, si svolse il singolare concerto . Il compositore preparò il pubblico all’ascolto, spiegando il significato del pezzo che i musicisti avrebbero eseguito nell’improvvisato concerto. Qualche anno dopo Messiaen dirà di non aver mai avuto un pubblico tanto attento e comprensivo come quello. La composizione originale è strutturata in otto movimenti, che corrispondono nella drammaturgia ad altrettanti momenti della Shoah. Su queste musiche Valentino Corvino e Andrea Agostini hanno composto una nuova partitura elettronica, che dialoga con la partitura originale, mantenendo la struttura in otto movimenti, su cui il regista Massimo Sceusa e l’interprete Mirko Rizzotto hanno costruito una drammaturgia, con il fine di raccontare sì il dolore, lo strazio, ma anche l’ironia e la leggerezza di alcuni momenti, di certo vissuti con inconsueta intensità nella inaspettata coscienza del valore della vita. Partendo dalle memorie e dalle testimonianze dei sopravvissuti e delle vittime del nazi-fascismo, Mirko Rizzotto interpreta i principali momenti della Shoah: dal rastrellamento alle deportazioni, dalla vita nei campi di concentramento al difficile ritorno dei sopravvissuti, attraverso una narrazione che contempera il senso di una libertà ritrovata con i segni lasciati dagli orrori sofferti. Un’unica storia, fatta di episodi vissuti da persone diverse, concatenati fra loro dal medesimo filo cronologico e drammaturgico: una storia raccontata attraverso tante storie. La forza di questo progetto è anche frutto della ricerca approfondita di materiale inedito, originale, reperito grazie alla collaborazione con lo Studio Pro Forma, storia e memoria di Carpi. una produzione Teatro del Baraccano ATTI SONORI Musica QUATUOR POUR LA FIN DU TEMPS di Olivier Messiaen elaborazioni elettroniche originali di Valentino Corvino e Andrea Agostini Memorie e testimonianze di sopravvissuti e vittime del nazi- fascismo scelti e interpretati da Mirko Rizzotto ORCHESTRA DEL BARACCANO Davide Braco clarinetto Fabrizio Zoffoli violino | Alessandra Cafaliello violoncello Denis Zardi | pianoforte direttore Giambattista Giocoli attore e drammaturgia Mirko Rizzotto regia, luci e voce fuoricampo Massimo Sceusa Durata: 1h. e 10 min. ca. Età: per ragazzi e ragazze dai 10 ai 18 anni ARCHIVIO 2024 ARCHIVIO 2023 ARCHIVIO 2022

Giardino Zed, Festival, Videodanza 11 July - 3 August - 1 September ZED International Videodanza Festival / Compagnia della Quarta ZED GARDEN videodance installation After the appointment of the last few months on the web, Giardino ZED becomes Live, invades the spaces of the Teatro del Baraccano, projects itself into the future by hosting, from July to September, frontal projections, at 360 degrees, video installations, information tools and augmented reality and virtual reality projects. ZED garden Live will accompany viewers on a multimedia and interactive journey to discover the creativity, wonder and visual worlds of this rapidly expanding art. It is a sound and visual installation path that starts from the videodance experience to tell three different ways of perceiving space, gaze, sound. A "sensitive / sensorial" experience that leads the viewer towards expanded visual landscapes, as opposed to the architectural boundaries that host it; a journey that shows videodance, touches emotional chords and uses new technologies with 360 ° projections ; an event that uses perception to overcome physical spaces and visual limits. Architects, visual designers, communication experts and 3D modelers put their skills and tools at the service of virtual reality applied to architecture, museum spaces and art. The project joins the natural path of the ZED International Videodanza Festival , which will be held in Bologna in mid-October, helping to create a permanent center, an Italian reference point that can welcome ideas, projects, artists from all over the world to investigate, promote , teach, distribute and produce artistic content on video. Duration 30 minutes. Each rerun is intended for 8 spectators at a time. Events in co-production with Coorpi , Cro.me - Chronicle and Memory of the Entertainment and Vitruvius Virtual Museum. https://www.zedfestival.org Giardino Zed Giardino Zed July 11, 9 pm > 11.30pm August 3, 8.30 pm> 11.30 pm September 1st, 8pm> 11.30pm Replies every half hour Each rerun is intended for 8 spectators at a time Exili 3 Exili 1 Castle 5 Castle 1 Castle 4 Castle 3 Castle 2 Single ticket 5 € Buy tickets

Mysliveček 21 August, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 22 August concert with the Baraccano Orchestra 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 Single ticket € 10

22 LUGLIO 2026 ATTI SONORI THE CARTOON BARBER The Barber of Seville for Manga music and drawings 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". PROGRAMMA Sinfonia dalla Norma di Vincenzo Bellini Preludio da La Traviata di Giuseppe Verdi Preludio da Aida di Giuseppe Verdi Ouverture dal Don Pasquale di Gaetano Donizetti Intermezzo dalla Cavalleria Rusticana di Pietro Mascagni Sinfonia da Il Barbiere di Siviglia di Gioacchino Rossini Intermezzo da I Pagliacci di Ruggero Leoncavallo Intermezzo dalla Manon Lescaut di Giacomo Puccini Sinfonia da La Forza del Destino di Giuseppe Verdi CONCERTO GRATUITO visita guidata 2€ prenotazioni visita: teatrocomunale@comunepersiceto.it entro il giorno prima della visita

Bologna Harp Festival Bologna Harp Festival - 5th edition February 9, 9 pm THE POSILLIPO SIREN Musical show freely based on the life of Adriana Basile Adriana Basile , sister of the writer Giambattista Basile and of the composer and poet Lelio Basile , was a famous Neapolitan singer and harpist of the early seventeenth century , also renowned for its exceptional beauty. Her fame attracted the interest of some writers who dedicated their poems to her: the Theater of the glories of Mrs. Adriana Basile to the virtue of her of the harps of the Amphions of this century manufactured , a collection printed in 1623 and 1628, and The idea of the vigil , from 1640. The first news about him dates back to 1610 , when she moved with her family and her husband Muzio Baroni, a nobleman in the service of the Carafa , a Mantua at the court of duke Vincenzo I Gonzaga , where the great composer Claudio Monteverdi himself was struck by the beauty of her voice and composed several works for her. TO Florence was hosted in the house of Giulio Caccini , where the members of the comrade de 'Bardi and the count himself Giovanni Bardi , confirming that she was the best singer in existence. The show presents a musical and poetic journey that traces the life of the mezzo-soprano: some Neapolitan arias , many written in her own hand by the singer herself in Spanish and extracted from the famous manuscript now preserved in the National Library of Naples (MS. I-NN, MS XVII.30), cantatas written by her brother and dedicated to her, works for harp from the great seventeenth-century Neapolitan school (Trabaci, Mayone), madrigals she sang at the courts of Florence and Mantua and works by Claudio Monteverdi dedicated to Adriana Basile, such as the famous Lamento d'Arianna. The show also offers, in addition to the recitation of letters and poems dedicated to the singer, a stage version that evokes life in seventeenth-century Naples in a subtle and contemporary way . Arianna Lanci voice Marco Muzzati percussion and acting Marianne Gubri baroque harp Buy tickets Arianna Lanci Marianne Gubri Marco Muzzati

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 A causa delle condizioni instabili del tempo la passeggiata è stata annullata. Il concerto si terrà all'interno del Teatro del Baraccano MYSLIVEČEK il divino Boemo concerto per ensemble di fiati JOSEF MYSLIVEČEK (Praga, 1737 - Roma, 1781) Ottetto n° 1 (1778) in MIb maggiore 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) Allegro Andante Minuetto Finale: presto JOSEF MYSLIVEČEK (Praga, 1737 - Roma, 1781) Ottetto n° 2 (1778) in MIb maggiore Allegro spiritoso Largo, sotto voce RONDO Allegretto Biglietteria passeggiata - apertitivo - concerto: intero 25€, ridotto 20€ concerto: intero 15€, ridotto 10€ riduzioni: under 30, over 65, Card Cultura, EmilBanca, Fitel, CNA, Lions Club Acquista biglietti

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

Respighi suite tournée Ungheria 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. The Orchestra of the Baraccano will be in concert with RESPIGHI SUITE , Antiche Arie e Danze per Liuto arranged for ensemble on September 7th at 7 pm at the Italian Cultural Institute in Budapest, Bródy Sándor utca 8.

March 30, 8.30 pm THE PRINCESS ON THE PEA the musical The story of The Princess and the Pea relives in the theater in a hilarious musical. Will the young and awkward Winnifred be able to prove to the evil Queen Aggravia that she is a real princess? Among knights, wizards, mattresses, jealous mothers, a bizarre dumb king and a small green pea, a musical journey into the Middle Ages that will make the whole family laugh and excite. The Muffins Maddalena Luppi, Stefano Colli Giulia Mattarucco and Riccardo Sarti direction and adaptation Edoardo Scalzini collaboration with texts and lyrics by Nino Pratticò and Jacopo Gilone musical direction Eleonora Beddini musical assistance Chiara Todeschi piano and Mute King Lorenzo Vacchi the voice of the Magician Davide Lepore costumes Silvia Cerpolini and Fabio Cicolani scenographies Barbara and Sara Sgambati graphics and illustrations Stefano Bonsi Ticket € 13 (full), € 10 (reduced) Buy tickets Locandina La Principessa 2019 Principessa sul Pisello - CAST

Dove siamo, come raggiungerci, come essere informati sulle nostre attività. THEATER OF THE BARACCANO Via del Baraccano, 2 40125 Bologna cell. 393.9142636 teatrodelbaraccano@gmail.com ISCRIVITI ALLA NEWSLETTER Iscriviti ora How to reach us Bus: lines 13, 96, 90 (Baraccano stop); line 11 (Fondazza stop); circulars 32 and 33 (Porta S. Stefano stop). Car: convenient parking in the Baraccano car park (P.zza del Baraccano) a few meters from the entrance to the theater, open 24/7.

Radiodramma musicale, Radio Ritmo, Orchestra del Baraccano, Marconi RADIO RITMO voices and sounds from the ether on the occasion of the 150th anniversary of the birth of Guglielmo Marconi (1874- 1937) Form Gallery Video