Kafka100 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 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 Scopri di più LA PRAGA DI KAFKA tra immaginario, perturbazioni, realtà in viaggio con Vincenza Maugeri 10-13 settembre Scopri di più KAFKA, Lettere a Milena concerto teatrale 1 settembre | Teatro del Baraccano - Bologna rassegna ATTI SONORI, estate 2024 ore 19.30 intervista impossibile a F. Kafka con E. Marrese e A. Santonastaso ore 21 spettacolo 15 novembre | Teatro del Baraccano - Bologna 16 novembre | Sala Sangiorgi - Forlì 17 novembre | Sementerie Artistiche - Crevalcore (BO) Scopri di più

Doppio Quartetto 15 August, 6 pm and 8.30 pm | Charterhouse of Bologna DOUBLE QUARTET from Respighi's music to Dalla's poetry The Double Quartet in D min., Dated 1900, is part of Respighi's early production, which is characterized by research and experimentation. It already contains three key aspects of the artist: the predilection for instrumental music against the predominant bel canto tradition, the undeniable predisposition towards a very personal and rich timbre palette and the love for “the antique”, which will be highlighted later. The Double Quartet will be the final stage of a path with a guided tour, curated by Mirarte , and the participation of Alessandro Tampieri . Orchestra del Baraccano Alessandro Tampieri Visita guidata ORCHESTRA DEL BARACCANO director Giambattista Giocoli violins Roberto Noferini , Henry Domenico Durante , Luca Ranzato , Matteo Anderlini violets Thomas Cavuoto, Lorenza Merlini cellos Giacomo Grava and Francesco Stefanelli Ticket € 20 Buy tickets

R.A.D. Respighi Ancient Dances 27 and 28 August, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 29 August RAD Respighi Ancient Dances music and dance 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. DNA Company | choreography Elisa Pagani 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 Biglietto unico 10€ (non comprensivo di aperitivo) Acquista biglietti

L'Eletta - Sagra della Primavera 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 Single ticket 5 € Buy tickets July 9 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

a little night music Form Teaser and Trailer Showreel Show Gallery Gallery Director

THE NIGHTINGONE 19 August, hours 21.30 THE DANCING FINDER concert with music by Giuseppe Verdi The transcript of the Troubadour according to the popular tradition of Emilian dancers, especially between the territories of Reggio Emilia and Parma, not only is it stylistically very successful, but - we dare to affirm - it even seems to reveal the authentic “genetic matrix” of the melodies of Verdi's masterpiece; after all, it is far from improbable that Verdi had sucked its essence from his childhood, as they say, with his mother's milk. The Nightingale revisits the musical tradition of the "wind concerts" of Barco (Reggio Emilia), reworking scores of late 19th century dance music. The septet, founded by Francesco Gualerzi and Mirco Ghirardini , is placed as an organ size halfway between the original wind concert (12-13 elements) and the smaller dance orchestra (and different for the type of tools used). The name of the group is taken from the title of the waltz - The nightingale, in fact - with which the nineteenth-century wind concert of the Cantoni di Parma invited people to dance with virtuosic "chirps". transcription for wind concert Fabio Codeluppi quartino Mirco Ghirardini quartino Andrea Medici trumpet Fabio Codeluppi bombardino Valentino Spaggiari genis Marco Catelli horn Dimer Maccaferri tuba Gianluigi Paganelli Ticket 12 € (full), 10 € (reduced) Buy tickets L'USIGNOLO

October 5th, hours 20 THE BUTTON / KNOFLIK Knoflik or Comedy for two. Two actors meet the masks of the Italian Commedia dell'arte . Five typical characters come to life from the meeting, whirling around each other, tying a short story built according to I. jokes of the commedia dell'arte. Harlequin's loss of a button unleashes a series of fast-paced, frenzied comic events and misunderstandings. To complicate everything, the voice of Berta, the sixth invisible character. The work proposes a review of the techniques and specific skills of the Commedia dell'arte, proposing them as a model for a theater that enhances the figure and creativity of the actor. with Jáchym Kučera and Richard Juan Rozkovec directed by Maddalena Rossi Single ticket € 8 Buy tickets Il Bottone Knoflik

scheda tecnica teatro del baraccano e cortile teatro del baraccano FEATURES OF THE MAIN ROOM Dimensions : length 20m, width 6m, height 6m Capacity : 100 seats, last rows with raised grandstand Stage / Platform 5 meters x 5 meters, height 70 cm Glass table and 4 conference chairs Audio system: Outline audio system with loudspeakers (satellites and subs), audio monitors, CD players with autopause, ice cream and headband radio microphones, various microphones and DI lines for concerts and shows. Video system : video projector and screen (4m X 3m), DVD player, PC, iPAD. Lighting system : 24 LED projectors with color changers; lighting mixer with the possibility of storing scenes; 300W and 500W floor lamps and spotlights, Profiles ETC. Internet connection : yes Disabled access : yes FEATURES OF THE FOYER Dimensions : length 6m, width 6m Corner Bar SERVICES Foyer : yes Cloakroom : yes, on request WC: yes, even for the handicapped Dressing rooms : two EQUIPMENT Carpet; Black / white PVC dance floor Fifths: no; projectable white backdrop Platforms and practicable, tables Any further arrangements on request Loading / unloading : comfortable, suitable for vehicles with slide, total distance from the room 10 meters FEATURES OF THE THEATER COURTYARD Dimensions : surface 600 m Capacity : 200 seats Stage / Platform 8 meters x 12 meters, height 70 cm Corner Bar with fridge and counter The space includes: • Foyer room, with vaulted ceiling, entirely frescoed, with corner Bar and Ticket Office • Show / event room , with frescoed wall, stage, chairs, dressing room • Toilet • Inner courtyard (former vegetable garden), which in summer is set up to host outdoor shows and events, 200 seats.

March 16, 8.30 pm OSTERIA DEL MANDOLIN Osteria del Mandolino is a musical formation that was born with the aim of bringing back to the light and to the attention of the public the music that develops in Italy from the second half of the 19th century up to the present day, through illustrious authors, virtuous musicians, original pieces and above all through the dance. Waltz, Polka, Mazurka, Marcia, Serenata , constitute the repertoire of the so-called dancers. This music, too often abused by fake sounds and electronic keyboards, resumes life in its original form through the use of the most popular tools in our tradition. Mandolins, ocarina, clarinet, guitar and double bass meet at the Osteria del Mandolino, a place of the soul born from the mists of the past, a place where ancient things come back to life e where it is still possible to listen to a serenade, to be twenty years old and to dance embraced, and in a path of re-knowledge to get in touch with the most intimate and true part of ourselves. And with this spirit, that of the taverns, which can happen to the incursion of other friends and musicians. The name "OSTERIA DEL MANDOLINO" is a tribute to a non-academic world that has contributed enormously to the development and dissemination of repertoires. The taverns , in fact, together to the shaving rooms, they were places where musicians gathered to play and where they could be listened to great Italian masters, with an almost forgotten respect today. Playing these instruments, this repertoire, is like coming home after traveling so much and in making this return here is the encounter with the ocarina , a Bolognese land that plays, since 1853. This land, which torn from the feet of the dancers becomes sound, makes their footsteps lighter and the whirls more swirling. On this occasion Osteria del mandolino, in addition to presenting the songs from the freshly printed cd Sotto la magnolia , proposes a program with most significant pieces of their repertoire. OSTERIA DEL MANDOLIN Osteria del Mandolino has been active since 2015. He has participated in various musical reviews and concerts including: Corti Chiese e Cortili , Villages and hamlets in music , May Day in Piazza Maggiore (with Eugenio Finardi), Sotto le stelle del cinema (edited by Cineteca di Bologna, in Piazza Maggiore), Majella etnofestival , (2016); International festival Ocarina- Budrio (2015-2017), Divine sunset (review curated by the Emilia-Romagna Region, 2017-2018); The voices of the Delta (edited by Romagna musica, in Musical Challenge conducted by Arturo Stalteri), Primaveranda , In Search of the Train by John Cage - a biodiversity landscape (1-2), Infrasuoni (2018). The group has collaborated with the musicians Marco Marcheselli, Ruggero Passarini, Fausto Carpani, Davide Salvi and with the actor and puppeteer Riccardo Pazzaglia with whom they play on stage in the show The ballad of the powerful . Discography : Sotto la magnolia (produced by Oderso Rubini and Osteria del Mandolino, 2018, Goodfellas distribution), with the participation of Guglielmo Pagnozzi, Carlo Maver, Gianluigi Paganelli, Roberto Pianezza and Francesca Alinovi. Antonio Stragapede guitar and mandolin Guido Sodo mandolin and voice Federico Massarenti ocarina of Budrio Massimo Pauselli clarinet Peppe Aiello contrabass Ticket € 10 (full), € 8 (reduced) Buy tickets Osteria del Mandolino

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

April 13, 8 pm MARGAM Indian dance theater show with Apoorva Jayaraman The Bhārata Nāṭyam is the oldest form of sacred dance theater originating in South India. The term Nāṭyam in Sanskrit means dance, Bhārata is instead an acronym of the three words Bhāva (expression), Rāga (melody), Tāla (rhythm). The style known as Bhārata Nāṭyam is in fact a perfect synthesis of these three elements. The dancer, or the dancer, through the movements and expressiveness of her body tells stories of gods and heroes. Life in all its forms is represented through this wonderful form of yoga in motion in which even the eyes dance. APOORVA JAYARAMAN was born in Bangalore, and met Bhārata Nātyam at the tender age of 5. At 16 she moved to Chennai to study with the great teacher Kalanidhi Narayanan and since then she has had the opportunity to train permanently with Priyadarsini Govind, one of the most eminent dancers of this style of dance. In his own words ' Dancing, and activities surrounding it, have brought me a sense of fulfillment like nothing else so far has '. Apoorva has a degree in Physics from the University of Oxford and a PHD in Astronomy from the University of Cambridge (UK). Ticket 12 € (full), 10 € (reduced) Buy tickets Apoorva2_edited Apoorva Jayaraman Apoorva Jayaraman Apoorva Jayaraman Apoorva Jayaraman Apoorva Jayaraman