SASSOLINO Teatro del Baraccano dal 26 al 29/01/23 Scopri di più RESPIGHI SUITE Basilicata 1-7 agosto Scopri di più RESPIGH'S TRAIL ​ Ungheria 6 settembre Scopri di più RESPIGHI SUITE ​ Teatro del Baraccano 10 settembre Scopri di più IL BARBIERE A FUMETTI Basilicata 28 marzo - 2 aprile Scopri di più R.A.D. Teatro del Baraccano 31 agosto Scopri di più RESPIGHI SUITE ​ Budapest | Ungheria 7 settembre Scopri di più CLASSICAL FOLK ​ Teatro del Baraccano 25 novembre Scopri di più AIDA, la musica danza nella sabbia Teatro del Baraccano 28/05/23 Scopri di più R.A.D. Corti, Chiese e Cortili 2 settembre Scopri di più RESPIGHI SUITE ​ Balatonfured | Ungheria 8 settembre Scopri di più 2022

Gallery Director

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 direttore Giambattista Giocoli violino Gabriele Bellu flauto Claudia Piga clarinetto basso Davide Braco arpa Alice Caradente clavicembalo Istvan Batori fisarmonica Raffaele Damen tromba Giulio Padula basso tuba Gianluigi Paganelli ​ arrangiamenti 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 ​ ​

February 7, 21 hours Bologna Harp Festival ​ PICTURES Harpe duo Alchimia Both graduates from the “A. Boito "of Parma, Alice Caradente and Alessandra Ziveri they founded in 2008 the harp duo “Alchimia” with the aim of offering the public a wide repertoire, sometimes unpublished, sometimes forgotten. After following Masters and Courses with internationally renowned teachers, they deepened this type of chamber repertoire by researching and performing original compositions and transcriptions, dealt with with profound stylistic expertise. They recorded two discs of unreleased and original songs for two harps: Paraphrase Verdiane (Tactus, 2014), a project entirely dedicated to the authors of the 19th century Italian harp school who composed fantasies, divertimenti, potpourri on the most loved arias of Maestro Giuseppe Verdi specifically for the chamber ensemble of the harp duo and The Queen's Harp (Da Vinci Ed., 2017), a focus on the Parisian salons of the last decades of the Ancien Régime, the golden age for the harp, which became the most fashionable instrument in pre-revolutionary Paris. They held concerts for prestigious festivals and exhibitions: among the most prestigious we can mention the Bellagio Festival and Lake Como, the Company dei Concerti in Milan, the concert season Belluno, the Verdi Festival in Parma, the Aperitif Concerts of Arturo Foundation Toscanini , the International Festival of Harp Sounds in Salsomaggiore Terme (PR) and the International Festival of the Viggianese Harp (PZ). They are active in the didactic field, teaching Harp at the ISSM Orazio Vecchi in Modena and the Liceo Musicale Attilio Bertolucci in Parma. Full ticket € 14, reduced € 12 Buy tickets

February 14, 9 pm I LOVE YOU I LOVE YOU is a range of “amorous” situations recited, sung and played by two pairs of artists, in a fun succession of sketches. Artists who they will go up on stage to interpret, in a musical version, some of the typical situations of the couple's life in an ironic and sarcastic key. Unrepentant singles in search of a soul mate, women who complain of a shortage of attractive bachelors, a couple who have decided to break up but don't know how to tell their parents, another who goes from enthusiasm for married life to desperate attempts to revive the passion stifled by domestic life. If you can find the romantic side of this show and even laugh at the love tragedies then your love will be infallible ... or almost! The show won first prize in the "Musical Theater" category at the Festival of Arts (ed. 2009). ​ directed by Luca Sebastiano Scelfo with Alessandro Calonaci, Sara D'Angelo, Alessia Gardini, Luca Sebastiano Scelfo at the piano Francesco Ricci Ticket 12 € (full), 10 € (reduced) Buy tickets

5 August, 9.30 pm ​ DISENCHANTED 8 August, 9.30 pm POPULAR SONGS 12 August, 9.30 pm ​ CONCERT FOR JACK LONDON August 16, 9.30 pm ​ ​ THE FISHER AND THE CROW 19 August, 9.30 pm ​ THE DANCING FINDER August 21, 9.30 pm THE BARBER IN COMICS english version ​ 24 August, 9.30 pm THE CARTOON BARBER Italian version ​

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

BARACCANO THEATER TICKET OFFICE the ticket office of the Teatro del Baraccano is in via del Baraccano, 2 ​ 20/12 TOYS AND COAL ​ 31/01 I HEAVEN - FRIDA KAHLO ​ 01/02 WIEGALA ​ 07/02 PICTURES - ALCHEMY DUO ​ 08/02 THE OVERTURNED CIRCUS ​ 29/02 FROM THE WINDOW OF LUCIO ​ 06/03 MARGAM REDUCTIONS under 26, over 65, Theater members, Culture Card * under 26, over 65, Teatro members, Culture Card, Jaya members ​ online at www.vivaticket.it or c / o Bologna Welcome (Piazza Maggiore 1 / e - tel. 051.231454) TICKET OFFICE HOURS from Mon to Fri from 10 to 13 and on show evenings ​ ​ ​

2 and 3 March, 9 pm PURGATORY BUM BUM a project of the Compagnia della Quarta To play down the sacredness of the three places traditionally dedicated to the purification of the spirit, is the goal of Purgatorio Bum Bum, the first chapter of a trilogy of theater and dance in which hell, purgatory and paradise become surreal and grotesque settings in which a veteran and a fool sinful freshman play with competition and gambling on the probabilities of their own destiny. Purgatorio boom boom opens with a danced divertissement that tells the long wait towards the divine in an exchange of roles that does not guarantee salvation, much less, the assumption into heaven of the chosen one. Original sin has made us guilty against our will. Regardless of the conduct of an entire life, the path to redemption becomes necessary and inevitable. What better place, if not purgatory, to decontaminate the soul from any dirt and then aspire to the empyrean? In Purgatorio Bum Bum a choreographer / dancer and an actor / performer, through body language and an "English-speaking gramelot" in a non-place suspended between the possible and the unimaginable, put on stage the story of a "teacher" who sees as his last hope for approaching a better life, the transmission of his experiences to a pupil who is not really adequate to the circumstances. Purgatorio Bum Bum is the emblem of change and spiritual transformation that passes from the need for a real physical transmutation: to resemble those who are about to cross the threshold, who can finally access Celestial Spheres becomes a necessary step to hope to really make it. On stage the fetishes and emblems of humanity sacred images transformed into a slot machine, tequila glasses that are transformed into the game of three cards in an apotheosis of vices transformed into games of skill. Who wants to play? Rien ne va plus ... concept and choreography Mario Coccetti interpreters Fabrizio Molducci / Mario Coccetti production Compagnia della Quarta organization Valentina Bressanin ​ Supported by Teatro De Micheli (FE - Italy) Center de résidence La Chapelle (Brest - France) ​ www.compagniadellaquarta.it Ticket 12 € (full), 10 € (reduced) Buy tickets

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". 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 La Baracca - Testoni Ragazzi regia e adattamento teatrale Bruno Cappagli con Lorenzo Monti e Daniela Micioni scene Fabio Galanti costumi Tanja Eick montaggio video Andrea Aristidi e Lorenzo Monti ​ esecuzione tecnica Andrea Biasco e Francesco Vaselli BIGLIETTERIA ​ incontro con l'illustratrice: gratuito per le scuole: 5.50€ prenotazione per le scuole secondarie di primo grado dal 23 settembre su prenotazioniscuole.testoniragazzi.it (fuori abbonamento) prenotazione per le scuole secondarie di secondo grado promo.teatrodelbaraccano@gmail.com ​ pomeridiano e serale: intero 12€ ridotto 10€ ( under 30, over 65, card Cultura, soci Coop) ridotto5€ (under 18) Acquista biglietti 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

1 August, 9.30 pm | Baraccano Theater Entroterre Festival MELANCHOLIA - jean rondeau Described as "one of the most interesting natural talents you can hear these days" by the Washington Post on a stage of classical music ”, Jean Rondeau can be considered a true "ambassador" of his instrument. His exceptional talent and his approach to the harpsichord repertoire have been particularly appreciated by music critics which credits him as one of the leading harpsichordists of today. ​ Jean Rondeau studied harpsichord with Blandine Verlet at the Conservatoire National Supérieur de Musique in Paris, also deepening the studies of Bass continuo, organ, piano, jazz, improvisation, and conducting. He completed his musical training at the Guildhall School of Music and Drama in London. In 2012, at the age of 21, he won First Prize at the Bruges International Harpsichord Competition (MAfestival 2012) ​ In the 2020/21 season, Jean Rondeau makes his debut at the Wiener Konzerthaus with a solo recital in a Bach and Scarlatti program. He also made his debut at the Konzerthaus in Dortmund, returned to the Köln Philharmonie and played Poulenc's Champêtre Concerto at the Essen Philharmonie. Jean Rondeau has signed an exclusive recording contract with Erato. For this important record label he has recorded several albums of ancient music , repertoire that remains the center of his musical identity. ​ Jean Rondeau also undertook the career as a director: collaborates with Kammerorchester Basel , Köln Concert , the Orchester Philharmonique de Radio France and the Stuttgart KammerOrchestra. ​ He will play music by Girolamo Frescobaldi (1583-1643), Giovanni Picchi (v. 1571-1643), Luzzasco Luzzaschi (1545-1607), Bernardo Storace (v. 1637-v. 1707), Gregorio Strozzi (1615-1687). ​ ​ Photo Jean Rondeau 11 (c) Shura Rusanova EE3A0428B (c) Edouard Bressy_edited Photo Jean Rondeau 16 (c) Shura Rusanova Single ticket € 10 Buy tickets

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