Orsoleo Spring Festival 2026 THE CARTOON BARBER The Barber of Seville for Manga music and drawings Ammirando la vista magnifica sia dell'architettura sia del panorama mozzafiato del Convento, ascoltando il racconto sonoro dell'Orchestra del Baraccano e quello teatrale di Sandra Cavallini, odorando i profumi delle erbe officinali che rievocano le antiche preparazioni monastiche, toccando le pietre secolari dei chiostri per sentire la materia di un luogo sospeso nel tempo ed infine assaporando le eccellenze culinarie locali, si potrà vivere una irripetibile e totalizzante immersione nella storia da protagonisti. Visite guidate a cura di Salvatore Mario Graziano . Appuntamenti 30 aprile, ore 18.45 1 maggio, ore 10 e 11.30 2 maggio, ore 10 e 21 3 maggio, ore 10 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 In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko.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 In this musical version, Maestro Giocoli decided to combine the intricate story of Rosina , told by the unpublished drawings of the Japanese mangaka Tsukishiro Yūko.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". 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". Repliche 2 e 3 maggio, ore 11.30 The Barber of Seville for Manga music and drawings Tra un concerto, una visita al Convento e una danza, sarà possibile assaporare i sapori della terra lucana, degustando alcuni dei prodotti tipici locali: salumi, formaggi, focacce, peperoni cruschi e l’immancabile Grottino di Roccanova DOP. Le degustazioni saranno a cura di Società agricola vitivinicola Torre Rosano srls sb Società agricola vitivinicola Vinicervino srls sb Masseria zootecnica Viviano Azienda Malaspina Agriturismo Masseria Cascino Appuntamenti 30 aprile, ore 19.30 1 e 2 maggio, ore 13 e 19.30 3 maggio, ore 13

Orsoleo Spring Festival 2026 THE CARTOON BARBER The Barber of Seville for Manga music and drawings Ammirando la vista magnifica sia dell'architettura sia del panorama mozzafiato del Convento, ascoltando il racconto sonoro dell'Orchestra del Baraccano e quello teatrale di Sandra Cavallini, odorando i profumi delle erbe officinali che rievocano le antiche preparazioni monastiche, toccando le pietre secolari dei chiostri per sentire la materia di un luogo sospeso nel tempo ed infine assaporando le eccellenze culinarie locali, si potrà vivere una irripetibile e totalizzante immersione nella storia da protagonisti. Visite guidate a cura di Salvatore Mario Graziano . Appuntamenti 30 aprile, ore 18.45 1 maggio, ore 10 e 11.30 2 maggio, ore 10 e 21 3 maggio, ore 10 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". 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". Repliche 2 e 3 maggio, ore 11.30 The Barber of Seville for Manga music and drawings Tra un concerto, una visita al Convento e una danza, sarà possibile assaporare i sapori della terra lucana, degustando alcuni dei prodotti tipici locali: salumi, formaggi, focacce, peperoni cruschi e l’immancabile Grottino di Roccanova DOP. Le degustazioni saranno a cura di Società agricola vitivinicola Torre Rosano srls sb Società agricola vitivinicola Vinicervino srls sb Masseria zootecnica Viviano Azienda Malaspina Agriturismo Masseria Cascino Appuntamenti 30 aprile, ore 19.30 1 e 2 maggio, ore 13 e 19.30 3 maggio, ore 13 2 maggio ore 16 e 19 | Chiostro grande Factory Compagnia Transadriatica HAMELIN spettacolo per bambini dai 5 anni liberamente ispirato alla fiaba “Il Pifferaio Magico” dei Fratelli Grimm Un fatto di cronaca traslato via via in fiaba. Ad Hamelin vige ancora il divieto assoluto di suonare musica nella via Senzatamburi. La città vive un periodo oscuro che richiama inquietanti analogie con il presente. Ma cosa è successo ai bambini di Hamelin? Dove finisce la realtà e dove inizia la finzione? Lo spettacolo gioca su diversi pianipercettivi della storia. Il Pifferaio, come artista, porta ad una visione diversa da quella adulta, fatta di sorpresa e bellezza. Allo stesso tempo, la sua figura richiama il teatro viaggiante e invita a riflettere sul ruolo dell’arte nella società di oggi. con Fabio Tinella • drammaturgia e regia Tonio De Nitto dramaturg Riccardo Spagnulo • musiche originali Paolo Coletta voiceover Sara Bevilacqua • sound designer Graziano Giannuzzi produzione Factory Compagnia Transadriatica - Fondazione Sipario Toscana

Orsoleo Spring Festival 2026 THE CARTOON BARBER The Barber of Seville for Manga music and drawings Ammirando la vista magnifica sia dell'architettura sia del panorama mozzafiato del Convento, ascoltando il racconto sonoro dell'Orchestra del Baraccano e quello teatrale di Sandra Cavallini, odorando i profumi delle erbe officinali che rievocano le antiche preparazioni monastiche, toccando le pietre secolari dei chiostri per sentire la materia di un luogo sospeso nel tempo ed infine assaporando le eccellenze culinarie locali, si potrà vivere una irripetibile e totalizzante immersione nella storia da protagonisti. Visite guidate a cura di Salvatore Mario Graziano . Appuntamenti 30 aprile, ore 18.45 1 maggio, ore 10 e 11.30 2 maggio, ore 10 e 21 3 maggio, ore 10 The Barber of Seville for Manga music and drawings Tra un concerto, una visita al Convento e una danza, sarà possibile assaporare i sapori della terra lucana, degustando alcuni dei prodotti tipici locali: salumi, formaggi, focacce, peperoni cruschi e l’immancabile Grottino di Roccanova DOP. Le degustazioni saranno a cura di Società agricola vitivinicola Torre Rosano srls sb Società agricola vitivinicola Vinicervino srls sb Masseria zootecnica Viviano Azienda Malaspina Agriturismo Masseria Cascino Appuntamenti 30 aprile, ore 19.30 1 e 2 maggio, ore 13 e 19.30 3 maggio, ore 13 1 maggio ore 17.30-19 | Chiostro piccolo RADICI E ALI laboratorio di tarantelle con Paola Perrone Un'occasione per conoscere il patrimonio culturale che il Sud Italia ha da sempre espresso attraverso la danza: se le danze popolari sono espressione della storia e della cultura di un popolo, studiare e danzare le forme coreutiche della tradizione popolare ci permette di entrare in comunicazione con il nostro corpo in rapporto allo spazio, al tempo, alla musica, ma allo stesso tempo svolge una funzione storico- sociale, restituendoci il nostro passato e la nostra storia. Il laboratorio sarà un viaggio attraverso varie tarantelle del sud Italia. Di ogni danza verranno presentati i passi base, i ritmi, le dinamiche relazionali di coppia e all’interno del cerchio, per un momento di festa condiviso. Il laboratorio è adatto a tutti, senza limiti di età. Per partecipare al laboratorio di tarantelle è richiesta la prenotazione via whatsapp al ph. 393.9142636 Appuntamenti 30 aprile, ore 17-18.30 1 maggio, ore 17.30-19 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". 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". Repliche 30 aprile, ore 11.30 1 maggio, ore 21

Orsoleo Spring Festival 2026 THE CARTOON BARBER The Barber of Seville for Manga music and drawings Repliche 30 aprile, ore 11.30 1 maggio, ore 21 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". 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". 30 aprile ore 17-18.30 | Chiostro piccolo RADICI E ALI laboratorio di tarantelle con Paola Perrone Un'occasione per conoscere il patrimonio culturale che il Sud Italia ha da sempre espresso attraverso la danza: se le danze popolari sono espressione della storia e della cultura di un popolo, studiare e danzare le forme coreutiche della tradizione popolare ci permette di entrare in comunicazione con il nostro corpo in rapporto allo spazio, al tempo, alla musica, ma allo stesso tempo svolge una funzione storico- sociale, restituendoci il nostro passato e la nostra storia. Il laboratorio sarà un viaggio attraverso varie tarantelle del sud Italia. Di ogni danza verranno presentati i passi base, i ritmi, le dinamiche relazionali di coppia e all’interno del cerchio, per un momento di festa condiviso. Il laboratorio è adatto a tutti, senza limiti di età. Per partecipare al laboratorio di tarantelle è richiesta la prenotazione via whatsapp al ph. 393.9142636 Appuntamenti 30 aprile, ore 17-18.30 1 maggio, ore 17.30-19 The Barber of Seville for Manga music and drawings Ammirando la vista magnifica sia dell'architettura sia del panorama mozzafiato del Convento, ascoltando il racconto sonoro dell'Orchestra del Baraccano e quello teatrale di Sandra Cavallini, odorando i profumi delle erbe officinali che rievocano le antiche preparazioni monastiche, toccando le pietre secolari dei chiostri per sentire la materia di un luogo sospeso nel tempo ed infine assaporando le eccellenze culinarie locali, si potrà vivere una irripetibile e totalizzante immersione nella storia da protagonisti. Visite guidate a cura di Salvatore Mario Graziano . Appuntamenti 30 aprile, ore 18.45 1 maggio, ore 10 e 11.30 2 maggio, ore 10 e 21 3 maggio, ore 10 The Barber of Seville for Manga music and drawings Tra un concerto, una visita al Convento e una danza, sarà possibile assaporare i sapori della terra lucana, degustando alcuni dei prodotti tipici locali: salumi, formaggi, focacce, peperoni cruschi e l’immancabile Grottino di Roccanova DOP. Le degustazioni saranno a cura di Società agricola vitivinicola Torre Rosano srls sb Società agricola vitivinicola Vinicervino srls sb Masseria zootecnica Viviano Azienda Malaspina Agriturismo Masseria Cascino Appuntamenti 30 aprile, ore 19.30 1 e 2 maggio, ore 13 e 19.30 3 maggio, ore 13

Isabella Leonarda, Cappella Artemisia August 5th, 9.15 pm Artemisia Chapel A PORTRAIT OF ISABELLA LEONARDA conventual music of the '600 Sister Isabella Leonarda (6 September 1620 - 25 February 1704), " the Novara muse ", she was the most prolific of all the seventeenth-century composers, both inside and outside the convent walls. She entered the college of S. Orsola at sixteen and remained there for 68 years, serving the monastery as vicar mother, superior and councilor. He published as many as 20 collections of motets and other works, nearly 200 compositions that include practically every genre of sacred music of his time: Masses, Vespers, motets in Latin and Italian for 1-4 voices with and without violins, and a collection of sonatas for 1 and 2 violins, the only complete collection of instrumental music of the time composed by an Italian woman. The Artemisia Chapel would like to celebrate this exceptional woman, whose vast production remains largely and unfairly unknown. Cappella Artemisia is an ensemble of voices and instruments dedicated to the music of the Italian female monasteries of the 16th and 17th centuries . The repertoire includes both unknown works composed by the nuns themselves, and pieces written by better known composers, but proposed, often for the first time, in their original way, that is, without male voices. The musicians are all specialized and established performers in the field of early music. They regularly collaborate with other ensembles such as Il Concerto Italiano , Accademia Bizantina , La Venexiana , L'arte dell'Arco , Mala punica , La Reverdie , La Risonanza , Cantar far , ModoAntiquo , L 'Accademia Strumentale and others. Since 1991, the ensemble has had flattering results, both for the rarity and originality of its repertoire, and for the high quality of its performances. She has been invited to the most prestigious early music festivals in Europe and North America. In 2018 he recorded his 9th CD: The Motets of the Pavese nun Bianca Maria Meda (1619). The name of Cappella Artemisia is inspired by the painter Artemisia Gentileschi, a significant figure in seventeenth-century Italy whose artistic value is finally beginning to earn the recognition it deserves. Cappella Artemisia Cappella Artemisia Cappella Artemisia Single ticket € 10 Buy tickets

Respighi suite tournée Balatonfured 21 August, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 22 August RESPIGHI SUITE concert with the Baraccano Orchestra ORCHESTRA DEL BARACCANO conductor Giambattista Giocoli violin Gabriele Bellu flute and piccolo Claudia Piga bass clarinet Davide Braco harp Alice Caradente harpsicord István Bátori accordion Raffaele Damen trumpet Giulio Padula bass tuba Gianluigi Paganelli arrangements by Fabio Codeluppi , Giambattista Giocoli, Filippo Mazzoli Orchestra del Baraccano Giambattista Giocoli 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

Allargo già le braccia 24 and 25 July, 9.30 pm | Courtyard of the Baraccano Theater in case of rain 26 July I ALREADY WIDEN MY ARMS the secret essence of unspoken things concert for musical ensemble, narrator and images ELSA and OTTORINO RESPIGHI. Letters and Double Quartet Music and musical gesture are the body on stage. Letters, documents and images are essential traces of Elsa and Ottorino Respighi's life. (Sandra Cavallini) 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 . Allargo già le braccia Orchestra del Baraccano Sandra Cavallini ideation Giambattista Giocoli Sandra Cavallini narrator and theatrical adaptation images edited by BLUE SALT music Double Quartet from Ottorino Respighi ORCHESTRA DEL BARACCANO director Giambattista Giocoli Roberto Noferini , Henry Domenico Durante Luca Ranzato , Matteo Anderlini violins Thomas Cavuoto, Lorenza Merlini violets Giacomo Grava and Francesco Stefanelli cellos Single ticket € 10 Buy tickets

February 22, 8.30 pm I HEAVEN - FRIDA KHALO " Is it legitimate to invent new verbs? I want to give you one: I heaven, so that my wings can spread out beyond measure to love you without borders. " (Frida Kahlo) A show that traces the life of Frida Kahlo against the backdrop of revolutionary Mexico. Shots of a tormented, passionate, violent existence; of a crazy woman, very sweet and in love with life. The show revolves around the love that Frida had for her land, for painting, for Diego, for life, for love itself. The languages to tell it range from theater to music: the text is made up of stories, letters from his diary, the voice of Diego Rivera that gives different nuances to the known figure of the painter. And finally, the music. Songs of the Mexican tradition carefully chosen to enrich and embellish the story, left to the skilful live interpretation of Massimo Donno on voice and guitar and Francesco Pellizzari to percussion. The first meeting with Frida took place in 2015 during a torrid summer in Bologna. "Here, read this!", My roommate gave me a book: "Pino Cacucci ¡Viva la vida!". On the cover a face, still little known. From that August my personal research on Frida began: with passion I studied her life and her works, Diego Rivera and muralist art, Mexico and the revolution of the early 1900s; I discovered my friendship with Leon Trotsky and the one with great artists of the time (T. Modotti, L. Matiz, A. Breton, LA Bravo), the affection for his friend as well as doctor L. Eloesser and the bond with his family, in particular with his sister Cristina. This was accompanied by a constant listening and growing interest in Mexican music: from the pre-Columbian sounds to the corrido, up to reach the great artists of yesterday and today (P. Infante, C. Vargas, L.Downs ...). Thus the desire to tell others, you, the wealth of this woman has made its way. Frida gave life to what she loved. He spared nothing, he gave himself all. This awareness raised a question in me: what am I giving my life for? I live with my peers the difficulties of the working world, the nonsense, the injustices. We stagger in a space devoid of guidelines, we cling to the first who passes and who tells his truth, we rape in "hope." that one day ... "; meanwhile they eat on our heads. In all this chaos, what can we do? Choose. Ask ourselves every day: for what, to whom am I giving my life? Frida continues to suggest the answer. Aurelia Cipollini by and with Aurelia Cipollini Massimo Donno voice and guitar Francesco Pellizzari percussion heading off Diego Rivera Tomas Acosta Ticket 12 € (full), 10 € (reduced) Buy tickets frida-14 frida-04 frida-13

Respighiamo musica 23 October h 15 and 30 October h 10.30 | Charterhouse of Bologna FIFTY INCREDIBLE MUSICAL YEARS Bologna 1979-1936 | Artistic life and society in the years of Ottorino Respighi guided tours A journey of discovery together with the musicologist Maria Chiara Mazzi and the art historian Roberto Martorelli. A walk through cloisters and galleries, to tell - through sculptures and monuments - places, events and people of the Bolognese musical world. In the years of life of the famous composer Ottorino Respighi, who rests in the Certosa alongside Giosue Carducci. Roberto Martorelli, art historian and Maria Chiara Mazzi , musicologist Admission 4 euros, reduced 3 euros. Reservations required by writing to museorisorgimento@comune.bologna.it . Appointment of the review Charterhouse of Bologna | 2021 summer calendar , as part of the project Respighi Project of the Baraccano Theater. Meeting at the main entrance (church courtyard), via della Certosa 18. The visit is also held in case of bad weather. Ottorino Respighi Certosa di Bologna Certosa di Bologna

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

Lenti passi nel tenebroso palazzo di fate from 24 May to 6 June | Charterhouse of Bologna SLOW STEPS IN THE DARK PALAZZO DI FATE the Charterhouse to the discovery of Ottorino Respighi treasure hunt From 24 May to 6 June the Risorgimento Museum offers a 'treasure hunt' in the monumental Cemetery of the Certosa to be done independently, dedicated to the figure of Ottorino Respighi (1879-1936) , one of the most famous musical composers of the twentieth century. Through a downloadable map by clicking on the button below, you will be able to discover the musical and family world of the artist, a relative of famous sculptors, art critics, doctors, men of arms and of the writer Vittoria Guerrini, aka Cristina Campo . In the stages of the route, QR codes will be available for those who want to learn more through texts, documents, videos and music. Made on the occasion of the Week to discover European cemeteries and the historical re-enactment of 8 hundred Aps Made Italy ; within the Respighi Project of the Teatro del Baraccano. Info: museorisorgimento@comune.bologna.it Download the map The map can also be downloaded through the Facebook channels of the Museum of the Risorgimento , 8 hundred , Baraccano Theater and Amici della Certosa , or by going to the Info Point of the Certosa during opening hours (via della Certosa 18 - Church courtyard). Smartphone with QR reader / app required. Ottorino Respighi Certosa Bologna Respighi Project

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.