Il Barbiere a fumetti, Orchestra Rossini, Barbiere di Siviglia, Rossini, manga 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 In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko.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". 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 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

Bruno Maderna July 6, 9.15 pm FontanaMIX ensemble - In.Nova Fert SEVEN SONGS FOR BRUNO a concert / documentary for Bruno Maderna's 100th anniversary Sette Canzoni per Bruno is a tribute that the FontanaMIXensemble and the "In.Nova Fert" Collective dedicate to Bruno Maderna on the occasion of the centenary of his birth. The concert / documentary represents the final moment of a research work and of a "Madernian" laboratory, with composers and performers, which wants to restore the image of the man and the artist, recalling the historical weight of his contribution and reflecting on his music as an example of an eternal classic. A different way to creatively revive the thought and the work suspended between a profound humanism and the rigor of the Neue Musik , between the love for ancient music and the game of magic squares , between a complex thought and a light one. Sette Canzoni per Bruno is made up of several expressive elements: one visual, one narrative and one musical. Fragments, sketches, magical squares of Maderna's work, also taken from the transcriptions of authors of the past and of the lighter production, represent the sources for free compositional elaborations that together form a musical tale strongly imbued with his way of making music and his tenacity to always investigate the new. In the same way the projections present in the concert / documentary collect and elaborate fragments of the life of the Venetian composer, of his intense activity as director and popularizer, forming visual compositions that interact musically with the elaborations for ensemble. The final result are seven musical moments for voices, ensembles, videos and electronics , which tell seven different chapters of Maderna's life, as a violinist and director of The Happy Grossato Company to the composer of the great masterpieces of the '70s. The compositional work curated by the In.Nova Fert Collective was made possible thanks to the precious consultations of the audiovisual material preserved at the Maderna Study Center of the Department of Arts of the University of Bologna. "From the childhood of an enfant prodige, between jazz and conducting, to the discovery of the Gabrieli and Monteverdi, to the comparison with the postdecaphonic lesson, here is the standing portrait of one of the protagonists of the music of the second half of the twentieth century, who often he preferred to highlight others and not his work, in a frenetic activity that always had an extraordinary humanity as its center of gravity, the pendulum of the most reckless artistic adventures. " (Luca Scarlini) Sette canzoni per Bruno FontanaMIX ensemble In.Nova Fert FontanaMIX ensemble In.Nova Fert Collective Luca Scarlini dramaturgy and narrator Stefano Croci video Valentina Coladonato voice Francesco La Licata direction Single ticket € 10 Buy tickets In case of rain the tickets will not be refunded

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 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

Pulcinella all'improvviso 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 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 Musiche di OTTORINO RESPIGHI (Bologna, 1879 – Roma, 1936) brani tratti dalle suite ANTICHE ARIE E DANZE PER LIUTO arrangementi di Fabio Codeluppi, Giambattista Giocoli e Filippo Mazzoli Balletto detto "Il Conte Orlando" (1599) Gagliarda (155?) Villanella (fine sec. XVI) Passo mezzo e Mascherada (fine sec. XVI) Laura soave, Balletto con gagliarda, saltarello e canario (1581) Danza rustica (1617) Campanae parisienses - Aria (sec.XVII) Bergamasca (1650) Arie di corte (sec. XVI) ********** G. B. PERGOLESI (Jesi, 1710 – Pozzuoli, 1736) IGOR STRAVINSKIJ (Lomonosov, 1882 – New York 1971) brani tratti dal balletto PULCINELLA Arrangiamenti originali per ensemble di Lorenzo Meo Sinfonia Vivo Finale Arrangiamenti originali per ensemble di Lorenzo Meo ********** TESTI drammaturgia originale o ispirata a testi della tradizione partenopea a cura di MARCO SGROSSO BIGLIETTERIA 29 SETTEMBRE BIGLIETTERIA 3 OTTOBRE 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".

Musica di Igor Stravinskij, testo di C. F. Ramuz. Con Ivano Marescotti e l'Orchestra del Baraccano, diretta da Giambattista Giocoli HISTOIRE DU SOLDAT SOUND ACTS March 29, 9 pm at the Duse Theater music by Igor Stravinskij, text by CF Ramuz ACTI SONORI stages the “poor” Opera that Igor Stranvinsky composed in 1918, against the sumptuous canons of traditional opera. The story is taken from the Russian fairytale tradition and has as its protagonist a soldier, an emblematic victim of the world conflict of the Great War. The soldier's story it concerns humanity as a whole and, in particular, the issue of the impossibility of man to escape his own destiny. Histoire du Soldat | by Gianluca Cheli This work was initially conceived as a work for puppets: a simple and immediate artistic product, with a strong symbolic component. Here the graphic gesture is chosen as a marionette sign to reveal the dark aftertaste of the ironic atmospheres, musically outlined by Stravinskij in his chamber work. Elements that return in the expressive sign of the most submerged plane of the Histoire du Soldat: the melancholy, and all in all a bit funny, feeling of predetermination, combined with the creative madness of Russian fairy tales, from which the work takes its cue. ORCHESTRA DEL BARACCANO director Giambattista Giocoli Roberto Noferini violin | Fabio Quaranta double bass Giovanni Picciati clarinet | Paolo Rosetti bassoon Fabio Codeluppi trumpet | Valentino Spaggiari trombone Simone Beneventi percussion narrator Ivano Marescotti illustrations Michele Cerone dramaturg Gianluca Cheli Ticket € 32 (full), € 24 (reduced) Buy tickets Ivano Marescotti Giambattista Giocoli Histoire du soldat Orchestra del Baraccano Orchestra del Baraccano Orchestra del Baraccano 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. IVANO MARESCOTTI Actor from Romagna, he ranges from cinema (with over 50 films) to theater, where he undertook, among other things, a recovery of his Romagna dialect, taking up the texts of Raffaello Baldini, to reread and rewrite Dante's Divine Comedy in his own way and the Orlando Furioso de ll'Ariosto.

April 5, 8.30 pm VOLVER presentation of the new cd by Carlo Maver Volver is the new album by Carlo Maver , released on April 5th 2019 by Visage Music. Recorded live in May 2018 in the small church of Casola (BO), in solo for bandoneon and flute , this fourth musical chapter by Maver is the transformation of a feeling, where listening inside and out is a goal, thanks to the as listener and performer come together in a total experience. Volver is music that comes from silence and is attracted to silence. The only one does not entertain, it undresses. The choice to play solo allows Maver to keep the sounds of the instruments pure, working in subtraction and leaving an almost decisive role to the pauses. Carlo Maver bandoneon, bass flute, moxeno, flute Single ticket € 10 Buy tickets Carlo Maver Carlo Maver Carlo Maver

The Barber in Comics Form ITA Form EN SKECTHES Interview Gallery 1 Video Catalog e CD

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.

Fidati dei tuoi sogni 12 July, 9.30 pm | Courtyard of the Baraccano Theater TRUST YOUR DREAMS Young Songwriter Award Trust your dreams "- Celebration Night From the latest hit single by the well-known Bolognese tenor Cris La Torre , the stage name of Cristiano Cremonini, entitled Trust in your dreams , dedicated to the new generations of artists, a national competition for young songwriters is born. Bern , Disagio , Duo Chimenti , Duo Diamanti , Erice , Exal , Floriana and Maria Mazzeo are the names of the eight finalists selected by the quality jury, led by Barbara Cola (president) and Francesca Cheyenne. At the end of the event the Community Jury will announce the names of the two lucky winners who will win a professional record production. The well-known singer and actress Barbara Cola, godmother and president of the Award Jury, will take the stage to support the finalists by giving us one of her performances, and with her Cris La Torre (godfather of the Prize), Rod Mannara (artistic director), Sara6 , Marcello Romeo , Giorgio Santisi , and Damiano Trevisan . Rod Mannara and Cris La Torre will present the evening. Artistic direction: Rod Mannara The event is organized and promoted by PMS Studio and MegaDischi in partnership with Pro.Di.Da in collaboration with Teatro del Baraccano, Playtune Records and the music publishing company BMRG with the patronage of the Municipality of Bologna and SIAE with the support of the Lions Club Minerva Minerbio and Emil Banca Credito Cooperativo Media partners : ABC Radio, Radio Derbi Web and Corriere dello Spettacolo The event will be streamed live on 9MQ and OA Plus and OA Sport A3 Fidati dei tuoi sogni, 12 luglio Single ticket € 10 Buy tickets

GIAMBATTISTA GIOCOLI At first clarinetist , born in 1976 in Matera, he studied clarinet in his hometown and then graduated from Conservatory of Bologna . As an instrumentalist he studied with Perrone, Quarenghi, Tirincanti, Pay and Carbonare, immediately starting an intense concert activity in Italy and abroad. Carry out registrations for Italian and foreign radios, recording several classical and contemporary music CDs. For 10 years he collaborated with the opera and symphonic seasons of the Orchestra of the Teatro Comunale di Bologna with which he performs many tours in Italy and abroad. He has collaborated with contemporary music ensembles FontanaMIX from Bologna and with the ensemble Wild Trails of Milan, with a concert activity in Europe and Asia. In 2013 he made his debut as conductor in the production of American musicals and in the same year he founded the Baraccano Orchestra , with which he produces chamber musical theater projects and symphonic projects that he still carries on tour. Since 2015 he has been collaborating as a guest conductor with the Orchestra of the Toscanini Foundation of Parma, and from 2017 with the Rossini Symphony Orchestra of Pesaro. In 2018 he also began collaborating with Lucana Orchestra Foundation and Virtuosi of the Italian Opera . AND' artistic director of the Baraccano Theater of Bologna and the research and production project of Teatro Musicale SOUND ACTS from Bologna. GALLERY

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