AIDA 2026 AIDA the music dances in the sand reduction of Giuseppe Verdi's Opera for ensemble, narrator and lights The monumental opera AIDA, in the musical version of the Baraccano Orchestra, does not require spectacular forcing on stage, nor colossal spaces or scenographic grandeur. Here even the elephants could stop marching, leaving space, amazed and moved, to the human drama between losers and winners, in war and in love. We find the suffocating gigantism desired by Giuseppe Verdi and the overwhelming effect on the soul of the young protagonists, in the original reduction and arrangement for instrumental ensemble with ten real parts, in the impetuous style of the director Giambattista Giocoli, in the verses spoken and whispered by Sandra Cavallini, in the desired metric irregularity of Antonio Ghislanzoni's libretto. L yrical accents, triumphal traits and sudden suspensions reveal the delicate depths of the work. A reduction and arrangement that will try, even without the singers, to restore the dramaturgy and symphonic power of this Opera and to convey its profound intimacy of feelings and musicality, in addition to the majestic and grandiose moments inspired by the magnificence of Egyptian civilization. Contrary to the predominant tradition, which made it famous mainly for the magnificence of the scenography, we therefore want to present an innovative reading, focused on the profound intimacy of feelings and reflections on social dynamics. ORCHESTRA DEL BARACCANO conductor Giambattista Giocoli Alessandro Di Marco violin Francesco Maria Parazzoli cello Filippo Mazzoli flute and piccolo Raffaele Damen accordion Alice Caradente harp Luca Piazzi trumpet Valentino Spaggiari trombone Gianluigi Paganelli bass tuba Simone Beneventi marimba and percussions reduction of the Opera Giambattista Giocoli arrangements Fabio Codeluppi actress and and theatrical adaptation Sandra Cavallini AIDA la musica danza nella sabbia Preludio ATTO I Celeste Aida - Terzetto Su del Nilo - Scena Aida Consacrazione - Finale I ATTO II Introduzione - Danza e Duetto Marcia Trionfale - Gran Finale ATTO III Intro - Romanza - Aria Aida Duetto Aida Radames - Finale ATTO IV Aria Amneris Duetto Aida Radames - Finale ultimo Acquista biglietti

Commedia madrigalesca di Adriano Banchieri. Compagnia Dramatodia, ensemble di musica e teatro. Compagnia Dramatodia, music and theater ensemble 10 August, 9.30 pm THE BOAT OF VENICE FOR PADUA madrigal comedy by Adriano Banchieri The music gives voice to a colorful series of characters: merchants, courtesans, students, Jews, foreigners, gathered in an imaginary river journey between the two main centers of the Serenissima Republic, Venice and Padua. The Boat of Venice for Padua , published in Venice in 1605, is a profane music by Adriano Banchieri ; Olivetan monk of the Bolognese convent of San Michele in Bosco, composer and music theorist among the most illustrious of the early seventeenth century. Among his works attributable to the genre of the Madrid comedy La Barca stands out for the rich narrative frame in which the various pieces are set. The Dramatodía ensemble, made up of 13 elements, owes its name (from the Greek “representative song”) to the Intermediates above the deceived Aurora composed by Girolamo Giacobbi in 1605, which constituted the first example of musical theater in the Bolognese area. The ensemble was born in 2000 with the intention of reviving the theatrical repertoire of the comedians of the sixteenth and seventeenth centuries and to explore the musical production that arose to enrich the performances. Ticket € 13 (full), € 10 (reduced) Buy tickets Dramatodia La barca di Venezia per Padova Dramatodia THE SAND BAGS

2 SETTEMBRE 2025 ATTI SONORI 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". BIGLIETTERIA intero 12€ ridotto (under 30, over 65, card Cultura) 10€ ridotto (under 18, studenti) 5€ In caso di pioggia, gli eventi si terranno all'interno del Teatro, ad eccezione dell'aperitivo. Acquista biglietti

Vieni notte, a bere luce Concerto per il Giorno della Memoria 23/01/22 ore 18 Teatro del Baraccano Scopri di più Myslivecek il divino boemo M.I.A. Musica insieme in Ateneo 23/02/2022 ore 20.30 Auditorium DAMSLab Scopri di più

Atelier Quadri d'Opera 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". THE CARTOON BARBER The Barber of Seville for Manga music and drawings

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

Viaggio in Basilicata e Campania 2026 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". 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 su base camera doppia € 850 * supplemento camera singola (su richiesta) numero minimo partecipanti: 15 * tariffa variabile per partenza\arrivo da stazioni di Milano e Firenze ISCRIZIONI ENTRO IL 23 FEBBRAIO 2026 CON VERSAMENTO DELL’ACCONTO 30% QUOTA VIAGGIO (255€) tramite bonifico bancario indicando cognome, nome, causale “Basilicata 2026” IBAN IT08A0707202403000000721562 Intestato a Perséphone, le pause del silenzio EMIL BANCA SALDO ENTRO IL 28 MARZO 2026 LA QUOTA COMPRENDE - viaggio A/R con treno alta velocità andata Bologna/Salerno, ritorno Caserta/Bologna in posti di seconda classe - trasferimenti in pullman privato come da programma - 3 pernottamenti in hotel 3* o 4* con prima colazione - 2 cene e 2 pranzi - laboratorio danze popolari/pizzica - spettacolo del Festival di Orsoleo - visite e ingressi come da programma - presenza e assistenza coordinatrice del viaggio - guide culturali qualificate - spese di gestione pratica - tassa di soggiorno - tassa di soggiorno - polizza medica di gruppo - materiale informativo LA QUOTA NON COMPRENDE - assicurazione contro annullamento e sanitaria - pasti liberi - mance - tutto quanto non espressamente indicato alla voce «la quota comprende» INFO Claudio Cristofori/Jabalito&Karma Viaggi cell 327 0503296-351 6957728 jabalitokarma@gmail.com Vincenza Maugeri/Teatro del Baraccano cell. 349.7774749

Brochure Respighi REC I ALREADY WIDEN MY ARMS My letters to Ottorino and hers to me trace the first period of our life together. After the wedding, the correspondence between us is very little, because in the eighteen years of life together we were only separated for a few days. (Elsa Olivieri Sangiacomo) A theatrical adaptation of the letters that Respighi exchanged with his wife Elsa Olivieri before their marriage was woven on the music of Ottorino Respighi's "Doppio Quartetto". These are letters that Elsa herself has collected in a volume, which she simply titled "Ottorino Respighi". A very precious instrument will enrich the musical performance: the violinist Roberto Noferini will play the violin that belonged to Respighi , a violin of prestigious and ancient Bolognese lutherie, built around 1730. by the luthier Florenus Guidantus (1687-1760). The scenographic images will help to discover a fragment of the life of this great Bolognese musician and composer, who, for his genius, deserves to be rediscovered by his city to which he was very attached. Respighi is deeply and intimately linked to the city of Bologna and lives it with very strong nostalgia every time he moves away from it. In fact, he settled in Rome in 1913, winning the competition for the Chair of Composition and Fugue at the Conservatory of Santa Cecilia, but his countless journeys can already be counted from his youth in via Castagnoli 2 (now Largo Respighi - BO), starting from the small room used as a study, from the fir bookcase built with his own hands, from the collection of vocabularies in different languages, with a particular curiosity for the less known ones. The vocabularies are followed by atlases and hours spent studying a geographical map. “ Those were, those were the first trips, the most beautiful I've ever done around the world ”. It is not always easy to play a dreamer. The event is part of the RESPIGHI project . ORCHESTRA DEL BARACCANO direttore Giambattista Giocoli Gabriele Bellu violino Filippo Mazzoli flauto Enrico Bassi fagotto Alice Caradente arpa Chiara Cattani clavicembalo Umberto Turchi fisarmonica Fabio Codeluppi tromba Gianluigi Paganelli basso tuba registrazione effettuata presso Teatro del Baraccan o ripresa audio Antonio Di Virgilio, Francesco Vaselli assistenza tecnica Andrea Biasco Michele Lo Veci mixaggio S tudio Ermes di Marco Ferri Bologna, ottobre 2021

Sacre du printemps, DNA 17 July, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 18 July DROP. Dance Research Opportunity DROP . is the youth company of DNA and heart of Alma PRO, a professional training center in contemporary dance, in Bologna, led by the artistic director Elisa Pagani . DROP. annually welcomes talented dancers and dancers - trained at the most important and prestigious national and international centers - to give them the opportunity to undertake life as professionals in a company, experiencing all the phases that lead from the creation of a show to the national tour and international. Each year, the dancers work with renowned guest choreographers to create a bold, challenging and ambitious triple bill for touring. The mission, in addition to delivering to young artists an experience that acts as a springboard into the world of the artistic profession, is also to bring on tour works of great artistic quality, captivating and current. The show is ideal and usable for all audiences, due to the high quality standard of the choreographers but also for the variety of the program chosen. Part 1 Part 2 Choreography by Biagio Caravano Music: Vatnajokull by Chris Watson, Duo for Violin and Cello, Pt 1 feat Aisha Orazbayeva Lucy Railton, and Slow Match by Moderat feat. Paul St. Hilaire Duration: 20 ' Depositing the will and undoing the concept of subject are elements that are placed at the center of the work. The rhythmic and dynamic quality of the action is defined through the relationship both with other bodies and with the external environment. It is an action linked to time, rhythm and joint fragility determined by the failure to the other rather than to himself. Dance becomes an act of learning and real-time evaluation of an energetic condition that allows the creation of a shared space, a complex and articulated place where the conditions for coexistence are established. These are the days… Choreography by Simona Bertozzi Music: Prometheus by Francesco Giomi Duration: 24 ' Starting from a look towards the plant world, with particular attention to the sensory activity of plants and to the strategies of environmental adherence that they know how to implement, between magnetisms, resonances, roots and energetic propulsions, the creation process faces different levels of cohabitation and entry into the relationship. The research on movement and the texture of the choreographic sections articulate the configuration of emerging behaviors, individual actions and rapid choral assemblages, whose anatomical polyphony becomes a necessary reason for the unlimited presence and reopening of listening. Materic Choreography by Elisa Pagani Music: Cecilia Stacchiotti Duration: 20 ' It tells of a journey. A journey into the material consistency of nature, through mechanical and physical dynamics that give order to geological evolutions, from Pangea to the first constitution of social systems in which a sense of belonging exists. Matter takes possession of space with vigor, in an organic act that claims the strength of its existence in a clear and miraculous way. Biglietto unico 10€ (non comprensivo di aperitivo) Acquista biglietti

Kafka, Letters to Milena Form Gallery 1

Catalogo Il Barbiere a Fumetti I ALREADY WIDEN MY ARMS My letters to Ottorino and hers to me trace the first period of our life together. After the wedding, the correspondence between us is very little, because in the eighteen years of life together we were only separated for a few days. (Elsa Olivieri Sangiacomo) A theatrical adaptation of the letters that Respighi exchanged with his wife Elsa Olivieri before their marriage was woven on the music of Ottorino Respighi's "Doppio Quartetto". These are letters that Elsa herself has collected in a volume, which she simply titled "Ottorino Respighi". A very precious instrument will enrich the musical performance: the violinist Roberto Noferini will play the violin that belonged to Respighi , a violin of prestigious and ancient Bolognese lutherie, built around 1730. by the luthier Florenus Guidantus (1687-1760). The scenographic images will help to discover a fragment of the life of this great Bolognese musician and composer, who, for his genius, deserves to be rediscovered by his city to which he was very attached. Respighi is deeply and intimately linked to the city of Bologna and lives it with very strong nostalgia every time he moves away from it. In fact, he settled in Rome in 1913, winning the competition for the Chair of Composition and Fugue at the Conservatory of Santa Cecilia, but his countless journeys can already be counted from his youth in via Castagnoli 2 (now Largo Respighi - BO), starting from the small room used as a study, from the fir bookcase built with his own hands, from the collection of vocabularies in different languages, with a particular curiosity for the less known ones. The vocabularies are followed by atlases and hours spent studying a geographical map. “ Those were, those were the first trips, the most beautiful I've ever done around the world ”. It is not always easy to play a dreamer. The event is part of the RESPIGHI project . ideazione e direzione musicale Giambattista Giocoli arrangiamenti musicali Fabio Codeluppi e Giambattista Giocoli disegni manga Tsukishiro Yūko montaggio video Giambattista Giocoli colorazione in digitale, lettering e grafica Michele Cerone direzione organizzativa Nella Belfiore assistenza alla produzione Paola Scrolavezza e Haruka Arakawa comunicazione Maja Kuliczkowska documentazione fotografica Paola Perrone ORCHESTRA DEL BARACCANO direttore Giambattista Giocoli Domenico Alfano flauto Ivàn Villar Sanz, Mirco Ghirardini clarinetto Augusto Palumbo, Umberto Codecà fagotto Umberto Turchi fisarmonica Paolo Faggi, Benedetto Dallaglio corni Fabio Codeluppi tromba Valentino Spaggiari trombone Gianluigi Paganelli basso tuba Track CD 13 e 22 Filippo Mazzoli f lauto Stefano Franceschini clarinetto Paolo Carlini fagotto Andrea Maccagnan trombone registrazione effettuata presso Teatro del Baraccan o ripresa audio Marco Ferri, Francesco Vaselli assistenza tecnica Andrea Biasco stage Michele Lo Veci, Costanza Balbi mixaggio S tudio Ermes di Marco Ferri Bologna, maggio 2022

SOUND ACTS 12 and 13 February, matinee for schools IN THE NAME OF A ROSE In this show, themes such as the meaning of life and the meaning of love and friendship are addressed. Each planet visited by the protagonist, who travels in the Universe, represents a metaphor of human nature. The King represents the thirst for power. The Vanitosa is a symptom of a gaze turned towards oneself and not towards the other. The drunkard is the emblem of the social unease of lonely people. The businessman is the explicit reference to the frenzy of the world. The Lampionario is the only figure of a man who does something useful, that is, he deals with something other than himself. Finally, the Geographer is the metaphor of knowledge, in which emotions are its engine, just as affectivity moves knowledge. Company ChiE'diSCENA 05 08 010 06 07 011