Centro Coreografico Nazionale / Aterballetto

Il Combattimento di Tancredi e Clorinda
2024-10-06 16:30 - 18:00 (Europe/Rome) | Parco Archeologico, Strada Provinciale 18 Ofantina, 13, Venosa, PZ, 85029, Italia
One of the most extraordinary works by Claudio Monteverdi, the most universally renowned figure in Italian Baroque music, Il Combattimento di Tancredi e Clorinda, which celebrates its 400th anniversary in 2024, becomes the foundation of an innovative multidisciplinary project, where music, singing, theater, and dance blend to create a seamless hybrid of performance languages. The choreography is by Philippe Kratz, while the direction is by Fabio Cherstich, whose work combines a strong focus on imagery and a passion for visual languages.
VENOSA – MUSEO E PARCO ARCHEOLOGICO
06 October 2024 – 4:30 PM and 5:30 PM
Duration of each performance: 25 minutes

CREDITS
Direction and visuals: FABIO CHERSTICH
Choreography and stage movements: PHILIPPE KRATZ
Music: IL COMBATTIMENTO DI TANCREDI E CLORINDA by CLAUDIO MONTEVERDI
Dancers: GADOR LAGO BENITO, ALBERTO TERRIBILE
Coproduction: FONDAZIONE NAZIONALE DELLA DANZA / ATERBALLETTO, TEATRO REGIO DI PARMA / FESTIVAL VERDI, TORINODANZA FESTIVAL – TEATRO STABILE DI TORINO – TEATRO NAZIONALE, GHISLIERIMUSICA – CENTRO DI MUSICA ANTICA
Il Combattimento di Tancredi e Clorinda is a project aimed at enhancing live performance activities within institutes and cultural sites, promoted by the Directorate General of Museums and co-financed by the Directorate General of Performing Arts.
For the realization of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and specifically the National Archaeological Museum and Roman Theatre of Spoleto – established, with the support of the Directorate General of Museums, a partnership shared by five other significant cultural sites: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Charterhouse of San Martino in Naples, and the Archaeological Park of Venosa; joining them is Castel Sant’Angelo in Rome, which will host the initiative as part of the summer festival Sotto l’angelo di Castello.

SITE-SPECIFIC VERSION

Church of Sant’Agata – National Archaeological Museum and Roman Theatre of Spoleto (PG) – 12 September 2024 PREMIERE

Castel Sant’Angelo in Rome – 13 September 2024

Monumental Complex of the Castle and Park of Racconigi (CN) – 22 September 2024

National Museum of Villa Pisani, Stra (VE) – 28 September 2024

Charterhouse and Museum of San Martino, Naples – 03 October 2024

Swabian Castle of Bari – 05 October 2024

National Archaeological Museum “Mario Torelli” of Venosa (PZ) – 06 October 2024

Kosmos – Museum of Natural History of the University of Pavia – 12 October 2024

THEATRICAL VERSION

PREVIEW: Turin – Torinodanza Festival, Fonderie Limone – 20-21 September 2024

PREMIERE: Parma – Festival Verdi, Teatro Farnese – 18-19 October 2024

The project is part of Italia Danza, a co-project curated by the Directorate General for Public and Cultural Diplomacy of Maeci and CCN/Aterballetto for the promotion of Italy’s artistic heritage abroad.
BODIES AS MIRRORS
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space where the proximity and similarity of the bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating the story of humanity in a struggle against itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced fight between human beings.
In conceiving this new creation, I explicitly draw inspiration from body art, particularly the work of Marina Abramović and Ana Mendieta, who explore the connection between the body, the earth, and primordial rites. I want the combat to reflect the protagonists’ relationship with the surrounding space, incorporating natural elements into their absurd dance of death.
A single voice will give life to three characters: the text itself, Tancredi, and Clorinda will merge into the body and sound of a countertenor. This estranged and forced sound, following a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this love-and-death story, tragically destined to repeat itself through the centuries, reaching us in all its strength—the emanation of the poetic power of Tasso’s words and the magnificent music of Monteverdi.
Fabio Cherstich, Director
INNER STRUGGLEFrom Torquato Tasso’s story, transposed into music by Claudio Monteverdi, the most obvious themes are the battle between woman and man, and religious conversion. However, these are the aspects I find least intriguing: translating them into dance would result in a narrative of mere circumstances.
A more philosophical or psychoanalytic reading of this struggle, from which both protagonists emerge defeated, deceived, and solitary, seems far more interesting to me. Within the opposition of the two roles, there is already an entire world: the seeking, the confrontation, and the mutual wounding. The dynamic follows the warlike and conflictual ritual of two entities approaching each other. The absurdity of the act manifests when one person loses their life, and we realize that the other, nevertheless, has not won… a strong, shared wound that remains on both bodies. So, are these two people fighting each other, or perhaps is one person fighting against themselves?
Philippe Kratz, Choreographer
A NEW CULTURAL DIALOGUE
The dance and live music project in museums Il Combattimento di Tancredi e Clorinda represents a new milestone in the enhancement of cultural heritage through the languages associated with all the arts. With its expressiveness and ability to engage, dance enriches the museum experience, making it vibrant, dynamic, and accessible to everyone. The synergy among the numerous institutions that have collaborated on the project allows us to present the performance in various cultural venues across the country, establishing this initiative among the best practices of the National Museum System.
Massimo Osanna, General Director of Museums
Ministry of Culture
We are pleased that from a project – Italia Danza – born from the Directorate General for Public and Cultural Diplomacy to promote, in partnership with Aterballetto, contemporary Italian dance abroad, has created the bridge that has enabled this format to also be brought into Italian museums through a collaboration between Aterballetto and the Directorate General of Museums. For us, this new partnership confirms the value and modernity of the work that the Directorate General I represent pursues daily to promote Italian culture abroad.
Filippo La Rosa, Deputy General Director for Public and Cultural Diplomacy
Ministry of Foreign Affairs and International Cooperation
We are honored to lead such a virtuous project: building a national network capable of bringing baroque melodrama, live music, dance, and contemporary direction into our museums is undoubtedly a remarkable way to enhance our heritage.
The Church of Sant’Agata, part of the National Archaeological Museum and Roman Theatre of Spoleto, seemed to us the most suitable space to host Il Combattimento di Tancredi e Clorinda: a place capable of providing an exceptional stage to offer spectators a unique experience of the convergence of languages, from the past to the present. The dancers will perform in an 11th-century environment, in front of the new altarpiece created by the artist Stefano di Stasio, a dialogue between the ancient and the contemporary that fits well with this project.
Costantino D’Orazio, Director of the National Museums of Perugia –
Regional Directorate of National Museums of Umbria
MUSEO E PARCO ARCHEOLOGICO DI VENOSAThe archaeological heritage of the Park has been the protagonist of experiences that hybridize the performing arts and archaeological heritage: the Teatri di Pietra festival; ARTFEST, in collaboration with the ETRA association, curated by choreographer Michele Merola, which has showcased, among others, Lara Guidetti – Sanpapié, Silvia Gribaudi, Roberto Zappalà, and the MMCDC company. The performance will take place in the Complex of the Holy Trinity, within the unfinished structure. Learn more

INFO&TICKETSReservation Info:

Contacts: 0972 36095 (Museum phone number)
Cost: free (as it falls on the first Sunday of the month, when entry to ministerial cultural sites is free)
Ticket office hours: 9:00 AM – 6:30 PM

At 4:00 PM and 5:00 PM, guided tours of the Archaeological Park will be held before each performance, led by Dr. Tommaso Serafini (Director of Museums and Archaeological Parks of Melfi and Venosa) and Dr. Rosanna Calabrese (responsible for the Museum and Archaeological Park of Venosa), with mandatory reservations at the number +39 0972 36095.

Lullaby
2024-10-06 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Lullaby is the perfect show to make children aged 4 to 6 fall in love with theater.
A show that tells us about the dreams and wonders that often appear to children suddenly, always unexpected, full of amazement.
“Then there is a hot air balloon from which a package falls: it looks like a gift. Chasing it to retrieve what it surely lost, Valentino takes the audience on a journey through the seasons and emotions; while the hot air balloon, from the sky, shows the way to follow.
Each song gives us a different rhythm, emotion, and wonder: from blues to fantasy, from jazz to fear, from samba to laughter.
And the hot air balloon? In the end, it was reached, but the package was not lost: it was a gift for Valentino. What? Of course, a tiny guitar.
An enchanting show that delights the heart and eyes.”
Nicoletta Cardone Johnson, EOLO | Rivista online di Teatro Ragazzi
CREDITS
Texts, songs, music, and scenes: Valentino Dragano
Assistant director: Raffaella Chillè
Recommended age: 4 – 6 years
Techniques used: live music | puppet theater | songs | storytelling theater
Themes: journey | growth | awareness
Discover more
Join us on a Hot Air Balloon!
Together we will embark on a journey through a colorful mosaic of characters and stories that will create a symphony of images and sounds.
Lullaby is a gift fallen from the sky. A secret and precious gift. A gift for you. All for you. Lullaby is music. Music that soothes and restores us.
It is the story of a child like me, like you. Of a child who watches and listens to the world around him: the flutter of a Butterfly’s wings, the snow at Christmas, the sun in Spring, the Starry Night Sky. Everything resonates with music, rhythm, and wonder.
And then there is the Hot Air Balloon that accompanies the journey and shows the way to follow from the sky.
Lullaby is a guitar that becomes a little theater. A six-string theater that travels through seasons, encounters, songs, fears, laughter, blues, jazz, samba!
Lullaby is singing, playing, taking another ride on the merry-go-round, and then, tired, falling asleep with music in your eyes, ears, and heart.

Valentino Dragano
Valentino Dragano is an actor, director, composer, and multi-instrumentalist musician; he began his artistic career in 1992, focusing his work on the research of folk-popular music (klezmer, Sephardic music, folk dance music from various European and non-European traditions) combined with theatrical work. Raffaella Chillé is an actress, director, and educator.
Their respective artistic paths, filled with experiences in street theater, experimental theater, puppet theater, and theatrical and musical pedagogy, met in ’97 in the Eduardo Company:
BAMBINE, winner of the Stregagatto award in ’96
PICCOLOGRANDE directed by Maria Maglietta
IL CANTO DI MARTA directed by Paolo Nani
The use of various expressive forms and the choice of “urgent” themes have always characterized our artistic journey. Thus, in 2001, our “theater-making” merged into the company Teatrinviaggio:
PINOCCHIO received a mention as “best emerging company” Stregagatto 2004
ORLANDO INNAMORATO
MANDALA, a theater performance for open spaces that combines street theater, puppet theater, and dance.
In 2007, they founded Kosmocomico Teatro producing musical shows for children:
CANTAFAVOLE, POLLICINO winner of the Città d’Aosta award 2009/10
BRUTTINO EOLO AWARDS 2011
and for adults:
THE SHOCKING PUPPET SHOW EOLO AWARDS 2011
Enfanthéatre Aosta Award 2013/2014 for PICCOLO PASSO
Best of klpteatro 2018 for CATTIVINI Cabaret-Concerto per Bimbi Monelli
Best of klpteatro 2021 for PULCETTA dal Naso Rosso
Find out more
Info, Tickets, Workshop
SUNDAY, OCTOBER 6, 4:30 PM FAMILY CONTACT
WORKSHOP LED BY CHOREOGRAPHER LAURA MATANO
Family Contact is a moment of sharing between children and parents aimed at exploring new worlds. Spending time together through the body, movement, and physical contact, creating and building a new harmonious bond. For children accompanied by 1 parent.
(Includes a ticket for the show Lullaby at 6:00 PM)
TICKETS
Single ticket: 6 euros
PURCHASE TICKETS

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens one hour before the show begins (via della Costituzione 39, Reggio Emilia).

Tickets are not numbered.
CONTACTS FOR RESERVATIONS
Phone and WhatsApp: 3341023554
Email: biglietteria@aterballetto.it

OPEN REHEARSAL - DECISIONE CONSAPEVOLE
2024-10-10 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
A conceptual map designed to guide improvisation sessions.
This is what Decisione Consapevole has been so far.
But what if we used the map as a true structure to follow in creating a choreographic work featuring four dancers navigating their own decisions? An empty space to be filled and emptied through the awareness of each performer. Taste plays a fundamental role in ensuring everything comes together cohesively, dressing different personalities in a single garment.
The garment adorns the performers with specific qualities and attitudes, meticulously studied rhythms, and methods. The garment sets boundaries that encompass endless freedoms. The garment is what prompts decision-making. So, could the garment be consciousness itself?
Isolation, intimacy, communication, community are the four key words. While these narrow the scope and make the performer’s decisions less varied and more mindful, the possibilities suggested by each word remain infinite.
The dancers’ fully conscious decisions about which key word to choose to inspire their action in the space will build the scene. These decisions can exist individually, but more importantly, they can coexist with all the others.

CREDITS
Choreography: Roberto Tedesco
Performers: Mattias Amadori, Eleonora Dominici, Laila Luchetta Lovino, Francesco Misceo
Music: Eskmo, Brendan Angelides / Rival Consoles / The Gentleman Losers / Pan-American /
J.S. Bach / Raime / Senking
Sound designer: Giuseppe Villarosa
Lighting design: Giacomo Ungari
Costumes: Francesca Messori
Duration: 50′
Production: Körper | National Dance Production Center
Co-production: National Choreographic Center Aterballetto
in collaboration with ArtistiAssociati / ARTEFICI.ResidenzeCreativeFVG
The project was realized with the contribution of ResiDance XL – residency places and projects for choreographic creations, part of the Anticorpi XL Network – Young Author’s Dance Network coordinated by L’arboreto – Teatro Dimora di Mondaino

Finalist project of DNA choreographic notes 2022
Project selected for the Open Studios of NID 2023
THE CHOREOGRAPHER
ROBERTO TEDESCO

Roberto Tedesco, born in 1992, began studying dance at the age of eleven.
In 2009, he joined the Balletto di Toscana School, immediately dancing for the junior company Junior Bdt. In 2011, he joined Aterballetto where he remained for ten years, working with great choreographers of the national and international scene, including: Ohad Naharin, Jiri Kylian, Hofesh Shechter, William Forsythe, Johan Inger, etc. Still as a dancer with Aterballetto, he began choreographing and participated twice in the International Choreographic Competition in Hannover, winning the critics’ award. He creates Cemento for the In/Finito project and Turn the tide for the MicroDanze project. In July 2021, he began a career as a freelance choreographer.
He is selected for the Vetrina Giovane Danza D’Autore with the duet Punch 24. The same duet is restaged for six dancers of the MMcontemporarydancecompany under the name Round Trip.
In Germany, he stages the duet Line-up at the National Theater Mannheim, creates By the throat for the Ballett Vorpormmern, and is selected for the Think Big project at the Staatsoper Hannover where he creates Superorganism. He accesses ResiDance XL – an action of the Anticorpi Network, through which he begins working on the project Decisione consapevole. With the latter, he is among the finalists of DNA appunti coreografici 2022 and in 2023 accesses the Open Studios of the NID in Cagliari.

INFO & TICKETS
TICKETS
Full price 3 euros
TICKET PURCHASE
Tickets can be purchased online at www.biglietteriafonderia39.it
The ticket office service at Fonderia is active one hour before the start of the show
Tickets are not numbered
CONTACTS
Cell and WhatsApp: 3341023554
Email biglietteria@aterballetto.it

Il Combattimento di Tancredi e Clorinda
2024-10-12 17:00 - 19:00 | Collegio Ghislieri, Salone San Pio, Piazza Collegio Ghislieri, 5, Pavia, Italia
One of the most extraordinary works by Claudio Monteverdi, the most universally renowned figure in Italian Baroque music, Il Combattimento di Tancredi e Clorinda, which celebrates its 400th anniversary in 2024, becomes the foundation of an innovative multidisciplinary project, where music, singing, theater, and dance blend to create a seamless hybrid of performance languages. The choreography is by Philippe Kratz, while the direction is by Fabio Cherstich, whose work combines a strong focus on imagery and a passion for visual languages.
Pavia – Collegio Ghislieri, Salone San Pio
12 October 2024 – 5:00 PM and 7:00 PM
Duration of each performance: 25 minutes
CREDITS
Direction and visuals: FABIO CHERSTICH
Choreography and stage movements: PHILIPPE KRATZ
Music: IL COMBATTIMENTO DI TANCREDI E CLORINDA by CLAUDIO MONTEVERDI
Dancers: GADOR LAGO BENITO, ALBERTO TERRIBILE
Coproduction: FONDAZIONE NAZIONALE DELLA DANZA / ATERBALLETTO, TEATRO REGIO DI PARMA / FESTIVAL VERDI, TORINODANZA FESTIVAL – TEATRO STABILE DI TORINO – TEATRO NAZIONALE, GHISLIERIMUSICA – CENTRO DI MUSICA ANTICA
Il Combattimento di Tancredi e Clorinda is a project aimed at enhancing live performance activities within institutes and cultural sites, promoted by the Directorate General of Museums and co-financed by the Directorate General of Performing Arts.
For the realization of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and specifically the National Archaeological Museum and Roman Theatre of Spoleto – established, with the support of the Directorate General of Museums, a partnership shared by five other significant cultural sites: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Charterhouse of San Martino in Naples, and the Archaeological Park of Venosa; joining them is Castel Sant’Angelo in Rome, which will host the initiative as part of the summer festival Sotto l’angelo di Castello.

SITE-SPECIFIC VERSION

Church of Sant’Agata – National Archaeological Museum and Roman Theatre of Spoleto (PG) – 12 September 2024 PREMIERE

Castel Sant’Angelo in Rome – 13 September 2024

Monumental Complex of the Castle and Park of Racconigi (CN) – 22 September 2024

National Museum of Villa Pisani, Stra (VE) – 28 September 2024

Charterhouse and Museum of San Martino, Naples – 03 October 2024

Swabian Castle of Bari – 05 October 2024

National Archaeological Museum “Mario Torelli” of Venosa (PZ) – 06 October 2024

Collegio Ghislieri – Pavia – 12 October 2024

THEATRICAL VERSION

PREVIEW: Turin – Torinodanza Festival, Fonderie Limone – 20-21 September 2024

PREMIERE: Parma – Festival Verdi, Teatro Farnese – 18-19 October 2024

The project is part of Italia Danza, a co-project curated by the Directorate General for Public and Cultural Diplomacy of Maeci and CCN/Aterballetto for the promotion of Italy’s artistic heritage abroad.

BODIES AS MIRRORS
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space where the proximity and similarity of the bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating the story of humanity in a struggle against itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced fight between human beings.
In conceiving this new creation, I explicitly draw inspiration from body art, particularly the work of Marina Abramović and Ana Mendieta, who explore the connection between the body, the earth, and primordial rites. I want the combat to reflect the protagonists’ relationship with the surrounding space, incorporating natural elements into their absurd dance of death.
A single voice will give life to three characters: the text itself, Tancredi, and Clorinda will merge into the body and sound of a countertenor. This estranged and forced sound, following a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this love-and-death story, tragically destined to repeat itself through the centuries, reaching us in all its strength—the emanation of the poetic power of Tasso’s words and the magnificent music of Monteverdi.
Fabio Cherstich, Director
INNER STRUGGLEFrom Torquato Tasso’s story, transposed into music by Claudio Monteverdi, the most obvious themes are the battle between woman and man, and religious conversion. However, these are the aspects I find least intriguing: translating them into dance would result in a narrative of mere circumstances.
A more philosophical or psychoanalytic reading of this struggle, from which both protagonists emerge defeated, deceived, and solitary, seems far more interesting to me. Within the opposition of the two roles, there is already an entire world: the seeking, the confrontation, and the mutual wounding. The dynamic follows the warlike and conflictual ritual of two entities approaching each other. The absurdity of the act manifests when one person loses their life, and we realize that the other, nevertheless, has not won… a strong, shared wound that remains on both bodies. So, are these two people fighting each other, or perhaps is one person fighting against themselves?
Philippe Kratz, Choreographer
A NEW CULTURAL DIALOGUE
The dance and live music project in museums Il Combattimento di Tancredi e Clorinda represents a new milestone in the enhancement of cultural heritage through the languages associated with all the arts. With its expressiveness and ability to engage, dance enriches the museum experience, making it vibrant, dynamic, and accessible to everyone. The synergy among the numerous institutions that have collaborated on the project allows us to present the performance in various cultural venues across the country, establishing this initiative among the best practices of the National Museum System.
Massimo Osanna, General Director of Museums
Ministry of Culture
We are pleased that from a project – Italia Danza – born from the Directorate General for Public and Cultural Diplomacy to promote, in partnership with Aterballetto, contemporary Italian dance abroad, has created the bridge that has enabled this format to also be brought into Italian museums through a collaboration between Aterballetto and the Directorate General of Museums. For us, this new partnership confirms the value and modernity of the work that the Directorate General I represent pursues daily to promote Italian culture abroad.
Filippo La Rosa, Deputy General Director for Public and Cultural Diplomacy
Ministry of Foreign Affairs and International Cooperation

We are honored to lead such a virtuous project: building a national network capable of bringing baroque melodrama, live music, dance, and contemporary direction into our museums is undoubtedly a remarkable way to enhance our heritage.
The Church of Sant’Agata, part of the National Archaeological Museum and Roman Theatre of Spoleto, seemed to us the most suitable space to host Il Combattimento di Tancredi e Clorinda: a place capable of providing an exceptional stage to offer spectators a unique experience of the convergence of languages, from the past to the present. The dancers will perform in an 11th-century environment, in front of the new altarpiece created by the artist Stefano di Stasio, a dialogue between the ancient and the contemporary that fits well with this project.

Costantino D’Orazio, Director of the National Museums of Perugia –
Regional Directorate of National Museums of Umbria

INFO&TICKETS
At 4:00 PM guided tour with Prof. Gianpaolo Angelini
Info for booking and ticket purchase:
– Ticket price: €5
– Ticket purchase: Online
– On the day of the performance, there will be a ticket office directly at the venue of the performance.

VISIONI DEL CORPO: IL CORPO MUOVE
2024-10-18 20:30 - 21:30 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Visioni del corpo: understanding contemporary art through auteur dance.
A “dancing encyclopedia” that speaks about the world through dance, placing the body at the center of humanity. A series of six cultural dissemination events that began in May 2024, resuming after the summer break with the new season at Fonderia. Connecting arts, movement, and current affairs, the meetings address themes of psychological well-being, the relationship with the city, the future, and ecology, through an experimental cultural medium.
Nicolas Ballario, journalist, curator, and cultural disseminator, introduces the theme of the debate, which, moving between dance and contemporary arts, reflects on the body from a different point of view each time. Each meeting is divided into six moments, dedicated to the works of six artists chosen to explore the main theme: renowned faces of contemporary art, well known to the general public. Each meeting will be interpreted by a choreographer from the contemporary scene, who will translate the suggestions of the discussed works into dance with an original performance, specifically designed for the project.

Fourth appointment: Friday 18 October h 20.30 at Fonderia

Il corpo muove (The body moves)
Talk withNicolas Ballario and Riccardo Buscarini
Choreographies by Riccardo Buscarini
Focus on Jackson Pollock, Nan Goldin, Michelangelo Pistoletto, Cindy Sherman, Studio Azzurro, Yōko Ono

Nicolas Ballario will present works related to “moving” art, that is, art that makes the artists move during creation or the audience when experiencing it (from Jackson Pollock to Nan Goldin, from Michelangelo Pistoletto to Yoko Ono). The evening will feature Riccardo Buscarini bringing some excerpts from Form O, a very recent work that is based on visual symmetries and asymmetries, and the effect that what we see creates in our body.
Addressing the theme of the body moved by passions, in a whirlwind of seductions and intrigues, Johan Inger’s Don Juan in VR will be presented, where the audience will fall into a dynamic flow that is difficult to resist.
‘War Is Over! (if you want it) Yoko Ono’ exhibition – Sydney, Museum of Contemporary Art Australia. From Wikimedia Commons
Crediti
concept / choreography Riccardo Buscarini
dance Annalisa Perricone, Giulia Quacqueri
original music by Alessandro Baldessari assisted by Luca Felici, “Nostalgia for Nothing” (A. Baldessari) and Piano Sonata No. 3, Op. 2 No. 3, in C major (L. Van Beethoven)
costumes Mara Leonora Pieri
lights Alessandro Gelmini
production De Arte Saltandi
Winner of the Theodor Rawyler Prize 2023 / Festival TenDance, Latina. Supported by Citofonare PimOff 2024, Milan, Centro Coreografico Nazionale/Aterballetto, and ResExtensa Porta d’Oriente – Centro Nazionale di Produzione della Danza and AREA Mediterranea – AnT Artisti nei Territori.
Special thanks to Eleonora Marzani, Giada Mazzocco, Roberta Ferrara and Vincenzo Losito, MM Dance Company, Marta Castelletta, Viola Rango, Bagart Company Novara, and all the People who have contributed to and will encounter this project.
Riccardo Buscarini
Ecco la traduzione in inglese del testo:
**Riccardo Buscarini**, an award-winning choreographer in Italy and abroad, is active in the fields of contemporary dance, opera, and visual arts. He graduated from the London Contemporary Dance School in 2009. Buscarini won the Prospettiva Danza Prize in 2011, Fondo Fare Anticorpi in 2012, and The Place Prize in 2013 with “Athletes”. He has participated in international projects such as danceWEB (Impulstanz, Vienna), ArtsCross London 2013 (UK, Taiwan, and China), Performing Gender (Italy, Croatia, Spain, the Netherlands), MAM-Maroc Artist Meeting in Marrakech, and NID Platform in 2014 and 2022.
In the visual arts field, he has collaborated with Summerhall (Edinburgh), London Festival of Architecture (2016 and 2019), Nahmad Projects (London and Milan), and UNA Galleria at Spazio Leonardo (Milan). His creation “Silk” for the Chelyabinsk Contemporary Dance Theater (Russia) was nominated for two Golden Mask Awards in 2018 at the Bolshoi Theater in Moscow and was later restaged for ŻfinMalta, the National Dance Company of Malta. In 2019, he created two works, “Suite Escape” for Equilibrio Dinamico Dance Company and “Nocturne” for Chelyabinsk Contemporary Dance Theater. In 2020, he choreographed “Charade” for EDGE (The Place, London) and was invited to perform at the 45th Cantiere Internazionale d’Arte in Montepulciano. In 2022, he created “Requiem for Juliet,” based on W. Shakespeare for ŻfinMalta.
In 2023, he directed his first opera, “Madama Butterfly” by Giacomo Puccini at Teatru Aurora in Gozo, Malta, and founded De Arte Saltandi, a cultural association dedicated to Domenichino da Piacenza, through which he curates dAS FESTIVAL.

Nicolas Ballario
Nicolas Ballario, born in 1984, is involved in contemporary art applied to media. He began his professional career at Oliviero Toscani‘s factory La Sterpaia, where he later became the cultural manager. He has collaborated with major artistic institutions and numerous publications.
In 2016, he became the youngest ever recipient of the Premio Bassani, one of the most prestigious awards for journalists distinguished in cultural and environmental fields. Currently, he hosts and produces contemporary art programs on Rai Radio Uno and contributes to magazines such as Rolling Stone, Living from Corriere della Sera, and Il Giornale dell’Arte. In 2019, he hosted the photography format Camera Oscura on LA7, while from 2020 to 2022, he led programs on Sky Arte including Io ti vedo, tu mi senti?, The Square, and Italia Contemporanea.
He is the CEO of the newly established exhibition production company Piuma and oversees exhibitions and catalogs. Artribune magazine recognized him in their Best of for two consecutive years: in 2019 for radio and in 2020 for television projects.
Info&Tickets
WINE TASTING AT FONDERIA
From 7:30 PM to 8:30 PM, enjoy an exquisite wine tasting thanks to the collaboration with Venturini Baldini.

TICKETS
Single: 3 euros
TICKET PURCHASE
Tickets can be purchased online at www.biglietteriafonderia39.it.
The box office at Fonderia is open from 7:30 PM.
Tickets are not numbered.
CONTACTS
Phone and WhatsApp: 3341023554
Email: biglietteria@aterballetto.it
FONDERIA ATERBALLETTO
Via della Costituzione 39, Reggio Emilia

Il Combattimento di Tancredi e Clorinda
2024-10-18 21:00 - 22:00, 2024-10-19 22:30 - 23:30 | Teatro Farnese, Piazza della Pilotta, 15, Parma, Italia
One of Claudio Monteverdi’s most extraordinary works, Il combattimento di Tancredi e Clorinda, celebrating its 400th anniversary in 2024, stands as a pinnacle of Italian Baroque music. It becomes the foundation for an innovative multidisciplinary project where music, singing, theater, and dance blend harmoniously in a creative fusion of performative languages. Philippe Kratz handles the choreography, while Fabio Cherstich directs, bringing together his expertise in visual aesthetics and a passion for expressive languages.
TEATRO FARNESE | PARMA – FESTIVAL VERDI
Friday, October 18, 2024 – 9:00 PM
Saturday, October 19, 2024 – 10:30 PM
The performance is part of the evening “Ramificazioni. Madrigali | Luigi Nono – Claudio Monteverdi”
Premiere of the theatrical version
CREDITS
Direction and Visuals: FABIO CHERSTICH
Choreography and Scenic Movements: PHILIPPE KRATZ
Music: IL COMBATTIMENTO DI TANCREDI E CLORINDA by CLAUDIO MONTEVERDI
Dancers: GADOR LAGO BENITO, ALBERTO TERRIBILE
GHISLIERI CONSORT, COMPOSED OF STRINGS AND CONTINUO
CARLO VISTOLI, COUNTERTENOR
CLAUDIO RADO, ELENA ABBATI, VIOLINS
CORINNE RAYMOND-JARCZYK, VIOLA
GIULIO PADOIN, CELLO
MICHELE GALLO, VIOLONE
FRANCESCO OLIVERO, THEORBO
DENIEL PERER, HARPSICHORD
Co-production: FONDAZIONE NAZIONALE DELLA DANZA / ATERBALLETTO, TEATRO REGIO DI PARMA / FESTIVAL VERDI, TORINODANZA FESTIVAL – TEATRO STABILE DI TORINO – TEATRO NAZIONALE, GHISLIERIMUSICA – CENTRO DI MUSICA ANTICA
Il Combattimento di Tancredi e Clorinda is a project aimed at promoting live performance activities in cultural institutions and venues, supported by the Directorate General of Museums and co-financed by the Directorate General for Performing Arts.
For the realization of the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria – and in particular the National Archaeological Museum and Roman Theatre of Spoleto – have established, with the support of the Directorate General of Museums, a partnership shared by five other major cultural sites: Villa Pisani in Stra, the Castle and Park of Racconigi, the Swabian Castle of Bari, the Certosa of San Martino in Naples, and the Archaeological Park of Venosa. Additionally, Castel Sant’Angelo in Rome will host the initiative as part of the summer program Sotto l’angelo di Castello.

SITE-SPECIFIC VERSION

Church of Sant’Agata – National Archaeological Museum and Roman Theatre of Spoleto (PG) – 12 September 2024 PREMIERE

Castel Sant’Angelo in Rome – 13 September 2024

Monumental Complex of the Castle and Park of Racconigi (CN) – 22 September 2024

National Museum of Villa Pisani, Stra (VE) – 28 September 2024

Certosa and Museum of San Martino, Naples – 03 October 2024

Swabian Castle of Bari – 05 October 2024

National Archaeological Museum “Mario Torelli” of Venosa (PZ) – 06 October 2024

Kosmos – Museum of Natural History of the University of Pavia – 12 October 2024

VERSIONE TEATRALE

ANTEPRIMA: Torino – Torinodanza Festival, Fonderie Limone – 20-21 Settembre 2024

PREMIERE: Parma – Festival Verdi, Teatro Farnese – 18-19 Ottobre 2024

Il progetto si inserisce all’interno di Italia Danza, coprogettazione a cura di Direzione Generale per la Diplomazia Pubblica e Culturale del Maeci e CCN/Aterballetto per la promozione del patrimonio artistico italiano all’estero.
BODIES AS MIRRORS
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined and circular space where the proximity and resemblance of bodies play a crucial role. With choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating a humanity in conflict with itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced struggle between human beings.
In conceiving this new creation, I draw explicit inspiration from body art, particularly the works of Marina Abramović and Ana Mendieta, which explore the connection between the body, the earth, and primordial rites and origins. I want the combat to reflect the protagonists’ relationship with their surroundings, incorporating natural elements into their absurd dance of death.
A single voice will bring three characters to life: the text itself, Tancredi, and Clorinda will merge in the body and sound of a countertenor. This estranged sound, compelled by a circular path, creates a sensation of constant repetition, emphasizing the endless cycle of this love and death story, destined, unfortunately, to repeat through the centuries, reaching us with all its strength, the emanation of Tasso’s poetic power, and Monteverdi’s magnificent music.
Fabio Cherstich, Director
INNER STRUGGLEFrom the Tasso’s tale, transposed into music by Claudio Monteverdi, the most obvious themes are the struggle between man and woman and religious conversion, but these are also aspects that I find less intriguing: adapting them into dance would lead to a narrative of mere circumstances.
A more philosophical or psychoanalytic interpretation of this struggle, from which the two protagonists emerge defeated, deceived, and lonely, appears much more compelling to me. In the opposition of their roles lies a whole world: the seeking, the confronting, and the wounding of each other. The dynamic is that of a ritualistic and conflictual duel between two entities drawing near. The absurdity of the act is revealed when one of them loses their life, and we realize that the other, nevertheless, has not won… a deep and shared wound that remains on both bodies.
Are these then two individuals battling each other, or perhaps it is one person wrestling with themselves?
Philippe Kratz, Choreographer
A NEW CULTURAL DIALOGUE
The project of live dance and music in museums, Il Combattimento di Tancredi e Clorinda, marks a new milestone in the enhancement of cultural heritage through the integration of various art forms. Dance enriches the museum experience with its expressiveness and ability to engage, making it vibrant, dynamic, and accessible to all. The synergy among numerous institutions involved in the project allows us to present the performance in various cultural venues nationwide, establishing this initiative among the best practices of the National Museum System.
Massimo Osanna, Director General of Museums
Ministry of Culture
We are pleased that from a project—Italia Danza—born from the General Directorate for Public and Cultural Diplomacy to promote Italian contemporary dance abroad, a bridge has been built to bring this format into Italian museums through collaboration between Aterballetto and the General Directorate of Museums. For us, this new partnership confirms the value and modernity of the work that the General Directorate I represent carries out daily to promote Italian culture abroad.
Filippo La Rosa, Deputy Director General for Public and Cultural Diplomacy
Ministry of Foreign Affairs and International Cooperation
We are honored to lead such a virtuous project: building a national network to bring baroque melodrama, live music, dance, and contemporary direction into our museums is undoubtedly a valuable way to enhance our heritage. The Church of Sant’Agata, part of the National Archaeological Museum and Roman Theater of Spoleto, seemed the most suitable space to host Il Combattimento di Tancredi e Clorinda: a place capable of being an exceptional stage to offer viewers a unique experience of the convergence of past and present languages. The dancers will perform in an 11th-century environment, facing the new altarpiece created by artist Stefano di Stasio—a dialogue between ancient and contemporary that complements this project beautifully.
Costantino D’Orazio, Director of National Museums in Perugia –
Regional Directorate of National Museums Umbria

OPEN REHEARSAL - WAITING FOR NOTTE MORRICONE
2024-10-21 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Monday, October 21 at 6:00 PM at Fonderia, Waiting for Notte Morricone: an open rehearsal of the Aterballetto Company with choreographer Marcos Morau, allowing the audience to experience the emotions before the indoor debut of Notte Morricone at Teatro Argentina in Rome, where the show will be on stage from October 24 to November 10.
Open rehearsals are unique moments where you can witness the creation of a show, interact with the artists, and be amazed by the art of dance: a special opportunity that allows the audience to enter the daily routine of dancers and choreographers.
CREDITS
Direction and Choreography MARCOS MORAU
Music ENNIO MORRICONE
Musical Direction and Adaptation by MAURIZIO BILLI
Set and Lighting MARC SALICRÚ
Costumes SILVIA DELAGNEAU
Production Fondazione Nazionale della Danza / Aterballetto
Commission, Co-production, First Outdoor Performance Macerata Opera Festival
Co-production, First Indoor Performance Fondazione Teatro di Roma
Co-productions Fondazione I Teatri di Reggio Emilia, Centro Servizi Culturali Santa Chiara Trento, Centro Teatrale Bresciano
Co-production Ravenna Festival | Orchestra Giovanile Luigi Cherubini
Indoor Premiere October 24 – November 10, 2024, Rome, Teatro Argentina
The performances at Teatro Argentina are co-presented with Fondazione Teatro di Roma and Romaeuropa Festival
EARLY SUGGESTIONS
«People often ask me what music I listen to, which music inspires or accompanies me in my daily life, and I always answer the same way: from classical music to new contemporary waves, I draw inspiration from many different sources, and Ennio Morricone is always at the top of the list.
Morricone’s music embodies that abstract sense of what is not said and not seen in films. Although it is almost impossible to separate his music from the images that accompany it, Morricone transcends and intertwines with life itself, with memories, and with the beauty and cruelty of a world that continues to move forward, destroying and rebuilding itself every day.
His music has a powerful melancholic quality that stems from both the contemplation of the past and the impossibility of capturing any past experience.
With classical training and avant-garde vocation, Morricone was always beyond the trends of the moment. Today, three years after his death, Morricone continues to inspire artists and visionaries in various fields, and his music belongs to an entire century and has revived many of our great masters.
His music was a genre unto itself, and for this evening I would like to build a universe based on his sensitivity to confirm that his legacy is more alive than ever and that, as he himself would say, “my music has a life of its own, which can live far from the films for which it was created.”»
(Marcos Morau, February 2023)
MARCOS MORAU
Recently appointed Chevalier of the Order of Arts and Letters by the French Ministry of Culture and selected as the best choreographer of the year 2023 by the German magazine TANZ, the career of Marcos Morau (Valencia 1982) continues to grow as a creator and stage director.
Trained between Barcelona and New York, in photography, choreography, and theater theory and dramaturgy, Marcos Morau builds imaginary worlds and landscapes where image, text, movement, music, and space constitute a unique universe constantly nourished by cinema, photography, and literature.
Since 2004, Marcos has directed La Veronal, a company present in the best theaters and festivals in over thirty countries: Théâtre National de Chaillot in Paris, the Venice Biennale, the Festival d’Avignon, Tanz Im August in Berlin, the RomaEuropa Festival, the SIDance Festival of Seoul, Sadler’s Wells in London, Danse Danse Montreal, among many others.
In addition to his work with La Veronal, Marcos Morau is an international guest artist in several companies and theaters where he develops new creations, always halfway between the performing arts and dance: Nederlands Dans Theater, Lyon Opera Ballet, Les Grands Ballets Canadiens, Royal Danish Ballet, or The Royal Ballet of Flanders, among others.
As the youngest creator to receive the National Dance Award, the highest recognition in Spain, the future of Morau and La Veronal aims at exploring new formats and languages where opera, dance, and physical theater dialogue more than ever, seeking new ways of expressing and communicating in our present time, always turbulent and constantly evolving.
From this season, he is an associate artist at the Staatsballett Berlin.
“La Veronal is a reminder that dance is often at the forefront of the most innovative theater.” – The New York Times
“Morau’s visual treatment is so brilliant, so vividly strange, that we get involved in what also turns out to be a story of transmission and emancipation.” – Le Monde
“Morau, one of the most interesting young choreographers on the contemporary dance scene.” – El País

Il Combattimento di Tancredi e Clorinda
2024-10-22 19:00 - 19:30, 2024-10-22 21:00 - 21:30 | Teatro Municipale Valli, Piazza Martiri del 7 luglio, Reggio Emilia, 42121, Italia
One of Claudio Monteverdi’s most extraordinary works, Il combattimento di Tancredi e Clorinda, celebrating its 400th anniversary in 2024, stands as a pinnacle of Italian Baroque music. It becomes the foundation for an innovative multidisciplinary project where music, singing, theater, and dance blend harmoniously in a creative fusion of performative languages. Philippe Kratz handles the choreography, while Fabio Cherstich directs, bringing together his expertise in visual aesthetics and a passion for expressive languages.
FESTIVAL APERTO
REGGIO EMILIA – TEATRO MUNICIPALE ROMOLO VALLI – SALA DEGLI SPECCHI
22 October 2024 – h 19.00 and h 21.00
CREDITS
Direction and Visuals: FABIO CHERSTICH
Choreography and Scenic Movements: PHILIPPE KRATZ
Music: IL COMBATTIMENTO DI TANCREDI E CLORINDA by CLAUDIO MONTEVERDI
Dancers: GADOR LAGO BENITO, ALBERTO TERRIBILE
GHISLIERI CONSORT, COMPOSED OF STRINGS AND BASSO CONTINUO
CARLO VISTOLI, COUNTERTENOR
CLAUDIO RADO, ELENA ABBATI, VIOLINS
CORINNE RAYMOND-JARCZYK, VIOLA
GIULIO PADOIN, CELLO
MICHELE GALLO, VIOLONE
FRANCESCO OLIVERO, THEORBO
DENIEL PERER, HARPSICHORD
Coproduction: FONDAZIONE NAZIONALE DELLA DANZA / ATERBALLETTO, TEATRO REGIO DI PARMA / FESTIVAL VERDI, TORINODANZA FESTIVAL – TEATRO STABILE DI TORINO – TEATRO NAZIONALE, GHISLIERIMUSICA – CENTRO DI MUSICA ANTICA
Project co-financed through the call of the DIREZIONE GENERALE SPETTACOLO for the enhancement of live performance activities in institutions and places of culture, with the lead partner being the MUSEO ARCHEOLOGICO NAZIONALE E TEATRO ROMANO DI SPOLETO (through the MUSEI NAZIONALI DI PERUGIA – DIREZIONE REGIONALE MUSEI NAZIONALI UMBRIA).

SITE-SPECIFIC VERSION
PREMIERE: CHIESA DI SANT’AGATA-MUSEO ARCHEOLOGICO NAZIONALE E TEATRO ROMANO DI SPOLETO (PG) – 12 SEPTEMBER 2024
CASTEL SANT’ANGELO IN ROME – 13 SEPTEMBER 2024
COMPLESSO MONUMENTALE DEL CASTELLO E DEL PARCO DI RACCONIGI (CN) – 22 SEPTEMBER 2024
MUSEO NAZIONALE DI VILLA PISANI, STRA (VE) – 28 SEPTEMBER 2024
CERTOSA E MUSEO DI SAN MARTINO, NAPLES – 03 OCTOBER 2024
CASTELLO SVEVO IN BARI – 05 OCTOBER 2024
MUSEO ARCHEOLOGICO NAZIONALE “MARIO TORELLI” IN VENOSA (PZ) – 06 OCTOBER 2024
KOSMOS – MUSEUM OF NATURAL HISTORY OF THE UNIVERSITY OF PAVIA – 12 OCTOBER 2024

THEATRICAL VERSION
PREVIEW: TURIN – TORINODANZA FESTIVAL, FONDERIE LIMONE – 20-21 SEPTEMBER 2024
PREMIERE: PARMA – FESTIVAL VERDI, TEATRO FARNESE – 18-19 OCTOBER 2024

BODIES AS MIRRORS
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined and circular space where the proximity and resemblance of bodies play a crucial role. With choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating a humanity in conflict with itself. Eros and Thanatos emerge as equally powerful forces, creating a paradoxical atmosphere in this perfectly balanced struggle between human beings.
In conceiving this new creation, I draw explicit inspiration from body art, particularly the works of Marina Abramović and Ana Mendieta, which explore the connection between the body, the earth, and primordial rites and origins. I want the combat to reflect the protagonists’ relationship with their surroundings, incorporating natural elements into their absurd dance of death.
A single voice will bring three characters to life: the text itself, Tancredi, and Clorinda will merge in the body and sound of a countertenor. This estranged sound, compelled by a circular path, creates a sensation of constant repetition, emphasizing the endless cycle of this love and death story, destined, unfortunately, to repeat through the centuries, reaching us with all its strength, the emanation of Tasso’s poetic power, and Monteverdi’s magnificent music.
Fabio Cherstich, Director
INNER STRUGGLEFrom the Tasso’s tale, transposed into music by Claudio Monteverdi, the most obvious themes are the struggle between man and woman and religious conversion, but these are also aspects that I find less intriguing: adapting them into dance would lead to a narrative of mere circumstances.
A more philosophical or psychoanalytic interpretation of this struggle, from which the two protagonists emerge defeated, deceived, and lonely, appears much more compelling to me. In the opposition of their roles lies a whole world: the seeking, the confronting, and the wounding of each other. The dynamic is that of a ritualistic and conflictual duel between two entities drawing near. The absurdity of the act is revealed when one of them loses their life, and we realize that the other, nevertheless, has not won… a deep and shared wound that remains on both bodies.
Are these then two individuals battling each other, or perhaps it is one person wrestling with themselves?
Philippe Kratz, Choreographer
A NEW CULTURAL DIALOGUE
The project of live dance and music in museums, Il Combattimento di Tancredi e Clorinda, marks a new milestone in the enhancement of cultural heritage through the integration of various art forms. Dance enriches the museum experience with its expressiveness and ability to engage, making it vibrant, dynamic, and accessible to all. The synergy among numerous institutions involved in the project allows us to present the performance in various cultural venues nationwide, establishing this initiative among the best practices of the National Museum System.
Massimo Osanna, Director General of Museums
Ministry of Culture
We are pleased that from a project—Italia Danza—born from the General Directorate for Public and Cultural Diplomacy to promote Italian contemporary dance abroad, a bridge has been built to bring this format into Italian museums through collaboration between Aterballetto and the General Directorate of Museums. For us, this new partnership confirms the value and modernity of the work that the General Directorate I represent carries out daily to promote Italian culture abroad.
Filippo La Rosa, Deputy Director General for Public and Cultural Diplomacy
Ministry of Foreign Affairs and International Cooperation
We are honored to lead such a virtuous project: building a national network to bring baroque melodrama, live music, dance, and contemporary direction into our museums is undoubtedly a valuable way to enhance our heritage. The Church of Sant’Agata, part of the National Archaeological Museum and Roman Theater of Spoleto, seemed the most suitable space to host Il Combattimento di Tancredi e Clorinda: a place capable of being an exceptional stage to offer viewers a unique experience of the convergence of past and present languages. The dancers will perform in an 11th-century environment, facing the new altarpiece created by artist Stefano di Stasio—a dialogue between ancient and contemporary that complements this project beautifully.
Costantino D’Orazio, Director of National Museums in Perugia –
Regional Directorate of National Museums Umbria

OPEN REHEARSAL - WHOMAN?
2024-10-25 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Can a human being exist regardless of their gender identity?
Is it possible to be completely free?
WHOMAN? draws upon the stylistic elements of science fiction cinema to transform choreography into a universal metaphor for the contemporary world. The concepts of masculinity and femininity are equally placed beyond any preconceived notions, and the age-old conflict of gender inequality is deconstructed, weakened, made fragile, and reinterpreted within a broader vision of humanity.
CREDITS
Choreography: Mario Coccetti | Collective
Dancers: Rocco Suma, Sally Damonte, Giovanni Karol Borriello
Production: ASMED | Balletto di Sardegna
Co-production: MILANoLTRE Festival
S DANCE COMPANY

S Dance Company is an artistic project by Mario Coccetti, Rocco Suma, and Salvatore Sciancalepore.
Founded in 2016 as a collective of artists, it has gradually solidified into a contemporary dance company, building a diverse repertoire in terms of stage setups and the number of performers. Today, the company features productions ranging from two to five dancers, with both indoor and outdoor performances. The permanent company dancers include Sofia Zanetti, Flavia Giuliani, and Marco Arzenton, who were joined in 2023 by Flavia Giuliani, Samuele Arisci, Paolo Grosso, Alessia La Notte, and Alessio Saccheri.
Currently, S Dance Company is produced by ASMED Balletto di Sardegna and is actively engaged in national and international tours.

INFO & TICKETS
TICKETS
Full price: 3 euros
PURCHASE TICKETS
Tickets can be purchased online at www.biglietteriafonderia39.it
The ticket service at Fonderia is available one hour before the show starts
Tickets are not numbered.
CONTACTS
Phone and WhatsApp: 3341023554
Email: biglietteria@aterballetto.it

NOTTE MORRICONE
2024-10-25 19:00 - 20:30, 2024-10-27 17:00 - 18:30, 2024-10-29 20:00 - 21:30, 2024-10-30 19:00 - 20:30, 2024-10-31 20:00 - 21:30, 2024-11-01 20:00 - 21:30, 2024-11-02 19:00 - 20:30, 2024-11-03 17:00 - 18:30 and 6 more dates | Teatro Argentina, Via dei Barbieri, 21, Roma, Italia
The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by the Spanish choreographer Marcos Morau.
The Spanish artist, known for his visionary power and his ability to transfigure musical universes, presents a unique creation intertwining the music of Oscar-winning Ennio Morricone with dance, visual arts, and cinematic suggestions. Marcos Morau, currently the youngest choreographer to have received the National Dance Award, Spain’s highest recognition in dance, builds imaginary worlds and landscapes where image, text, movement, music, and space create a unique universe constantly inspired by cinema, photography, and literature. Now, in his first collaboration with the CCN/Aterballetto, he has chosen to work with iconic compositions from the cinematic landscape of the past seventy years: those of Oscar-winning Ennio Morricone. The director states: «With a classical training and avant-garde vocation, Morricone has always been beyond the trends of his time. His music belongs to an entire century and has brought many of our great masters back to life, and for this evening I would like to build a universe based on his sensitivity, to confirm that his legacy is more alive than ever and that, as he himself would say, “my music has a life of its own, which can live far from the films for which it was created.”»
More info »

REPLICHE E ORARI
Romaeuropa Festival

24.10 | h 20.00
25.10 | h 20.00
26.10 | h 19.00
Fondazione Teatro di Roma

27.10 | h 17.00
29.10 | h 20.00
30.10 | h 19.00
31.10 | h 20.00
1.11 | h 20.00
2.11 | h 19.00
3.11 | h 17.00
5.11 | h 20.00
6.11 | h 19.00
7.11 | h 17.00
8.11 | h 20.00
9.11 | h 19.00
10.11 | h 17.00
CREDITS
Regia e coreografia MARCOS MORAU
Musica ENNIO MORRICONE
Direzione e adattamento musicale a cura di MAURIZIO BILLI
Sound design ALEX RÖSER VATICHÉ, BEN MEERWEIN
Set e luci MARC SALICRÚ
Costumi SILVIA DELAGNEAU
Assistenti alla coreografia SHAY PARTUSH, MARINA RODRÍGUEZ
Produzione Fondazione Nazionale della Danza / Aterballetto
Commissione, coproduzione, prima rappresentazione outdoor Macerata Opera Festival
Coproduzione, prima rappresentazione indoor Fondazione Teatro di Roma
Coproduzioni Fondazione I Teatri di Reggio Emilia, Centro Servizi Culturali Santa Chiara Trento, Centro Teatrale Bresciano
Coproduzione Ravenna Festival | Orchestra Giovanile Luigi Cherubini
Premiere outdoor 1° agosto 2024, Macerata Opera Festival
Premiere indoor 24 ottobre – 10 novembre 2024, Roma, Teatro Argentina
Le recite al Teatro Argentina sono in co-presentazione con Fondazione Teatro di Roma e Romaeuropa Festival
MARCOS MORAU
Recentemente nominato Cavaliere dell’Ordine delle Arti e delle Lettere dal Ministero della Cultura francese e selezionato come miglior coreografo dell’anno 2023 dalla rivista tedesca TANZ, la carriera di Marcos Morau (Valencia 1982) continua a crescere come creatore e regista di scena.
Formatosi tra Barcellona e New York, in fotografia, coreografia e teoria teatrale e drammaturgia, Marcos Morau costruisce mondi immaginari e paesaggi dove immagine, testo, movimento, musica e spazio costituiscono un universo unico che viene costantemente nutrito dal cinema, dalla fotografia e dalla letteratura.
Dal 2004, Marcos ha diretto La Veronal, una compagnia presente nei migliori teatri e festival di oltre trenta paesi: Théâtre National de Chaillot a Parigi, la Biennale di Venezia, il Festival d’Avignone, Tanz Im August a Berlino, il Festival RomaEuropa, il SIDance Festival de Seoul, Sadler’s Wells a Londra, Danse Danse Montreal, tra molti altri.
Oltre al suo lavoro con La Veronal, Marcos Morau è un artista ospite internazionale in diverse compagnie e teatri dove sviluppa nuove creazioni, sempre a metà strada tra le arti performative e la danza: Nederlands Dans Theater, Lyon Opera Ballet, Les Grands Ballets Canadiens, Royal Danish Ballet o The Royal Ballet of Flanders, tra gli altri.
Essendo il più giovane creatore a ottenere il Premio Nazionale di Danza, il più alto riconoscimento in Spagna, il futuro di Morau e La Veronal mira alla ricerca di nuovi formati e linguaggi dove l’opera, la danza e il teatro fisico dialogano più che mai, cercando nuovi modi di esprimersi e comunicare nel nostro tempo presente, sempre turbolento e in continua evoluzione.
Dalla presente stagione, è artista associato presso lo Staatsballett Berlin.
“La Veronal è un ricordo che la danza è spesso all’avanguardia del teatro più innovativo.” – The New York Times
“Il trattamento visivo di Morau è così brillante, così vivacemente strano, che ci lasciamo coinvolgere in ciò che si rivela anche essere una storia di trasmissione ed emancipazione.” – Le Monde
“Morau, uno dei coreografi giovani più interessanti della scena contemporanea della danza.” – El País

Open Rehearsal - Les Fleurs
2024-10-30 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Let’s make these our flowers into a single bouquet, something similar to a collection. The poems are communicating vessels, like the characters in their monstrous solitudes, they look at each other in a single magnificent cathedral that is existence.
Les Fleurs by Balletto Civile is a show that, taking up the well-known title of Charles Baudelaire’s work, focuses on poetic language and its revolutionary impact on the contemporary body that becomes a political body, in a vision of freedom and dialogue with civil society.
Open rehearsal at 6:00 PM
Show at 8:30 PM

Credits
Direction and choreography: Michela Lucenti
on stage Maurizio Camilli, Michela Lucenti, Alessandro Pallecchi Arena, Gianluca Pezzino, Emanuela Serra, Francesca Zaccaria
Dramaturgy: Maurizio Camilli, Michela Lucenti, Emanuela Serra
Sound design: Guido Affini
Lighting design: Stefano Mazzanti
Space consultancy: Alberto Favretto
Assistant director: Giulia Spattini
Stage assistance: Jacopo Squizzato
Production: Emilia Romagna Teatro ERT / Teatro Nazionale, Balletto Civile
Discover more
Charles Baudelaire’s work in Les Fleurs du mal is a single, great “perforated” story. A narrative of situations created through images, with fractures, holes, and zones where each of us can find ourselves, discovering common traits and shared vulnerabilities. The collection of poems speaks of the beauty of the imperfect bodies of characters on the fringes of society, outcasts, borderline individuals, who become magnificent creatures through a new gaze. This aligns closely with the philosophy of Balletto Civile, which has always crafted its works by lending bodies to a lyrical narration of protagonists who are anti-heroes.
The show, endowed with a strong narrative rhythm determined by the poet’s texts and original writings, stages a struggle between dance and the poetic act as a possible rewriting of the world.

Six figures on stage represent the central themes: the poet, beauty, time, boredom, exile, revolt, the wound, the city, and finally, poetry itself.
The scenic space, bare and material, welcomes the characters as in a single luminous and sonic installation, where the bodies, through geometries of existences on the margins, produce strong, overwhelming images that, like cuts in a canvas, seek to leave a graphic mark on the viewer’s retina. This is achieved through a language that is initially solitary and then shared, confusing personal feelings with the community’s shared wounds.
The artist is able to see all that is wonderful but cannot avoid feeling the world’s terrors on their skin; we cannot hide from this risk. Baudelaire is the first contemporary poet who recorded on his skin not only the heights but also the sacrifice and pettiness to which the artist is subjected, and he made this reflection a work of art.
Balletto Civile
A nomadic group by definition, driven by a strong ethical tension, Balletto Civile was founded in 2003 by Michela Lucenti. The creative approach is a research based on movement that emerges from the deep scenic relationship between the artists. It works on a total language where theater, dance, and original singing interact naturally.
Find out more

Les Fleurs
2024-10-30 20:30 - 21:30 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Let’s make these our flowers into a single bouquet, something similar to a collection. The poems are communicating vessels, like the characters in their monstrous solitudes, they look at each other in a single magnificent cathedral that is existence.
Les Fleurs by Balletto Civile is a show that, taking up the well-known title of Charles Baudelaire’s work, focuses on poetic language and its revolutionary impact on the contemporary body that becomes a political body, in a vision of freedom and dialogue with civil society.
Open rehearsal at 6:00 PM
Show at 8:30 PM

Credits
Direction and choreography: Michela Lucenti
on stage Maurizio Camilli, Michela Lucenti, Alessandro Pallecchi Arena, Gianluca Pezzino, Emanuela Serra, Francesca Zaccaria
Dramaturgy: Maurizio Camilli, Michela Lucenti, Emanuela Serra
Sound design: Guido Affini
Lighting design: Stefano Mazzanti
Space consultancy: Alberto Favretto
Assistant director: Giulia Spattini
Stage assistance: Jacopo Squizzato
Production: Emilia Romagna Teatro ERT / Teatro Nazionale, Balletto Civile
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Charles Baudelaire’s work in Les Fleurs du mal is a single, great “perforated” story. A narrative of situations created through images, with fractures, holes, and zones where each of us can find ourselves, discovering common traits and shared vulnerabilities. The collection of poems speaks of the beauty of the imperfect bodies of characters on the fringes of society, outcasts, borderline individuals, who become magnificent creatures through a new gaze. This aligns closely with the philosophy of Balletto Civile, which has always crafted its works by lending bodies to a lyrical narration of protagonists who are anti-heroes.
The show, endowed with a strong narrative rhythm determined by the poet’s texts and original writings, stages a struggle between dance and the poetic act as a possible rewriting of the world.

Six figures on stage represent the central themes: the poet, beauty, time, boredom, exile, revolt, the wound, the city, and finally, poetry itself.
The scenic space, bare and material, welcomes the characters as in a single luminous and sonic installation, where the bodies, through geometries of existences on the margins, produce strong, overwhelming images that, like cuts in a canvas, seek to leave a graphic mark on the viewer’s retina. This is achieved through a language that is initially solitary and then shared, confusing personal feelings with the community’s shared wounds.
The artist is able to see all that is wonderful but cannot avoid feeling the world’s terrors on their skin; we cannot hide from this risk. Baudelaire is the first contemporary poet who recorded on his skin not only the heights but also the sacrifice and pettiness to which the artist is subjected, and he made this reflection a work of art.
Balletto Civile
A nomadic group by definition, driven by a strong ethical tension, Balletto Civile was founded in 2003 by Michela Lucenti. The creative approach is a research based on movement that emerges from the deep scenic relationship between the artists. It works on a total language where theater, dance, and original singing interact naturally.
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Info&Tickets
TICKETS
Full price: 10 euros
Reduced (under 30, dance schools, Matilde di Canossa Dance High School, over 65, CRAL Municipality of Reggio Emilia members): 6 euros
Reduced (under 8): 3 euros
PURCHASE TICKETS

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens one hour before the show begins (via della Costituzione 39, Reggio Emilia).

Tickets are not numbered.
CONTACTS FOR RESERVATIONS
Phone and WhatsApp: 3341023554
Email: biglietteria@aterballetto.it

OPEN REHEARSAL - 14.610
2024-11-04 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
PERFORMANCE POSTPONED TO NEXT SEASON
The title of the performance is 14.610, a number that hints at something never explicitly mentioned. But it is a key, like the code to a hotel room, that allows easy entry into the show. It is a small and sophisticated puzzle to solve. The latest work by Claudia Catarzi has something intimate and shameless.
Open rehearsal Monday, November 4 – 6:00 PM
Show Tuesday, November 5 – 8:30 PM

Credits
by and with Claudia Catarzi
music by Julien Desprez
scenography by Fabio Giommarelli
co-produced by Company Blu, La Manufacture – Centre de Développement Chorégraphique National Bordeaux Nouvelle-Aquitaine, Armunia/Festival Inequilibrio/Centro di residenze artistiche Castiglioncello, with the support of the Regione Toscana and the MiC
created in 2023
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It’s hard to describe the feeling of dancing almost three meters high on a surface so narrow it seems more like a pedestal than a platform. From the ground, that is, from the stage of the Teatro Rosignano Solvay, where the show debuted for the Inequilibrio festival, the latest work by Claudia Catarzi has something intimate and shameless. Shameless because the spectator, compelled to keep their eyes upwards, admires the technical skill, explicit and evident, of a figure that doesn’t perform acrobatics, but nonetheless constructs a tense and sculptural choreography, made of plastic poses, clear and defined gestures, even jumps. Although the tone is far from baroque – a certain austerity prevails, though never frigid – there is something triumphant in this construction that resembles the base for a Renaissance equestrian statue. Indeed, in the dramatic arc of the show, the satisfaction of reaching the top is palpable. As if we were in the mountains. Looking down from above is satisfying, but it also gives you chills. Not only because it’s easy to fall, but perhaps because at some point from this peak, the only thing left to do is descend.

And this is the other intimate dimension that runs through the entire show and speaks to us of fragility and strength, of change and resistance. The title of the show is 14.610, a number that hints at something never explicitly mentioned. But it is a key, like the code to a hotel room, that allows easy entry into the show. It’s a small and sophisticated puzzle to solve. Not too difficult, to be honest, but we want to leave it unresolved, so as not to spoil the pleasure of discovery. In the second part of the work, the pedestal reveals itself as a steep slide, and the descent becomes a sort of struggle; the muscular body strains to defeat the weight of gravity, as in the whirls of some Giambologna statue. Even though the aesthetics are tied to a sober normality, which makes the image even more intimate and common. About ten years ago, Catarzi debuted in her solo 40,000 Square Centimeters, again a number for a title, striking for presence and power in the small space drawn on the stage of only four square meters. Ten years later, this space has shrunk but has risen into the air. Not a diving board to jump from, but a mountain – like life – to embrace and climb.
(Rodolfo Sacchettini – July 18, 2023)
CLAUDIA CATARZI
After training at the Academy of Fine Arts in Florence, she began her career working with the Micha Van Hoecke Ensemble. She later danced with companies such as Dorky Park Constanza Macras (Berlin), Compagnia Virgilio Sieni, Aldes/Roberto Castello, Company Blu/Alessandro Certini and Charlotte Zerbey, En-Knap Group/Iztok Kovač (Ljubljana), László Hudi (J. Nadj – Budapest), among others. In 2009, she was part of Choreoroam, a research project by the Israeli choreographer Yasmeen Godder (Tel Aviv). She was later invited to follow the work of the Batsheva Dance Company by Ohad Naharin. She has collaborated with choreographer Ambra Senatore since the beginning of her company’s research work between Italy and France, participating in all her early works. Since 2011, she has been working on personal creations. The solo Arrivò senza colore won the co-production Sosta Palmizi, and Un giorno, a duo in collaboration with Mariano Nieddù, was a finalist at the “Premio Equilibrio 2010” (directed by Sidi Larbi Cherkaoui). Her two latest creations see her sharing the stage for the first time with two female figures: Michal Mualem, a historical dancer in Sasha Waltz’s company, in A set of timings, and Claudia Caldarano, a former dancer of Virgilio Sieni, in Posare il tempo. The live presence of musician Gianni Maestrucci in Posare il tempo – percussionist of the renowned group Tetraktis – transforms the danced duet into a trio. Claudia Catarzi is currently an associate artist at CDCN of Bordeaux, La Manufacture | Bordeaux-Nouvelle Aquitaine.
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EVES - OPEN REHEARSAL
2024-11-04 18:00 - 19:00 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
EVES is a project that connects astronomy and contemporary dance with the aim of promoting both. Dance engages with astronomy, scientific dissemination becomes a performance, and we embark on a journey to discover the universe and ourselves through the parallelism between the micro and macro cosmos.
Open rehearsal Monday, November 4 – 6:00 PM
Performance Tuesday, November 5 – 8:30 PM

Credits
Compagnia Natiscalzi DT
Choreography: Tommaso Monza and Claudia Rossi Valli
Dancer: Claudia Rossi Valli
Scientific dissemination: Prof. Claudio Melioli, Astrophysics
Set: Natiscalzi DT
Production: Cinqueminuti APS
With the contribution of Regione Emilia Romagna L.R. 13/99
With the support of Comune di Reggio Emilia
In collaboration with Binario49 – Associazione Casa D’Altri
Duration: 60′
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[Do you think you’re sitting still right now?
You’re on a Planet that’s orbiting a Star at 30km/s.
That Star is orbiting the centre of a Galaxy at 250km/s.
That Galaxy is moving through the Universe at a rate of 600km/s.
We’re never still. We’re moving continuously.
Since you’ve started reading this, you’ve travelled about 3000km.]
EVES è nato fantasticando con la testa fra le nuvole, o forse come direbbe l’astrofisico Claudio Melioli (UniBo, USP São Paulo, Unimore) dell’associazione Binario49, è nato dalla forza di gravità che abbiamo esercitato entrambi per incontrarci su questo nuovo territorio: la possibilità di creare uno spettacolo di teatro danza e astronomia, a metà fra divulgazione scientifica e senso del sublime per il cosmo, tipico della poesia. Come un contemporaneo Leonardo Da Vinci ci appassioniamo al progetto senza separare arte e scienza, provando a raggiungere un punto comune fra le discipline che oltre ad essere nucleo sia anche involucro. Il progetto EVES è la ricerca di nuove forme di comunicazione ibrida, alla ricerca di una nuova strategia di divulgazione della conoscenza e del sapere in spazi altri e “non Luoghi” per generare nuove modalità di condivisione e incontro di nuovi pubblici.
COMPAGNIA NATISCALZI DT
CLAUDIA ROSSI VALLI
Trained as a dancer at the Theatre-Dance course of the Scuola d’Arte Drammatica Paolo Grassi in Milan. After graduating, she continued her studies in Italy and abroad, training with, among others, Compagnia Abbondanza/Bertoni (IT), The William Forsythe Company (DE), Retina Dance Company (UK), and Ampersandance Youth Company (UK). She was awarded a scholarship for the American Dance Festival 2012 (NYC, USA), where she was selected to dance with Shen Wei Dance Arts.
She has been a dancer with Compagnia Tiziana Arnaboldi (CH) since 2014 and Compagnia Zappalà Danza (IT) since 2015, performing in productions such as La Nona (winner of the Danza&Danza Best Production Award 2015), LavaBubbles, Vestire lo spazio, and I Am Beautiful. Since 2016, she has also been a dancer with Compagnia Abbondanza/Bertoni (IT), performing in Gli Orbi, Compleanno Pubblico Ballato, Capodanno RAI 2019, and La Morte e la Fanciulla, which won the Danza&Danza Best Production Award 2017.
Claudia has pursued her interest in choreography since 2012, receiving various accolades for her productions. In 2016, she co-founded Compagnia Natiscalzi DT with Tommaso Monza. In 2024, she won the **Premio Scenario Infanzia** with the show *Cosa hai in testa?*.
—
TOMMASO MONZA
Originally trained as a sculptor at the Brera Academy of Fine Arts, Tommaso Monza later transitioned to theatre-dance and contemporary dance, studying with Compagnia Abbondanza/Bertoni, Julien Hamilton, Roberto Castello, Ivan Wolf, Liat Waysbort, and Loren Potter.
Since 2005, he has been a dancer and collaborator with Compagnia Abbondanza/Bertoni, and since 2010, he has worked with Compagnia Ambra Senatore. In 2010, he began his own choreographic journey, creating a solo (Fra le mie dita rotte), a quartet (Piazze d’Italia), and a duet (Dei nostri eroi più fragili).
In 2012, he participated in the Choreoroam Europe project. Since then, he has developed ROD – Three Units on Kazakhstan, which was a finalist at Premio Equilibrio Roma 2014 and was presented at Mirabilia Festival Europeo 2014 (IT), MittelFest 2014 (IT), Festival Exister 2014 (IT), Vetrina Anticorpi XL 2014 (IT), and ArtBat Fest 2013 (KZ). In 2015, he was selected as a choreographer for the Anghiari Dance Hub project with his work *Sketches of Freedom*.
In 2016, he co-founded Compagnia Natiscalzi DT with Claudia Rossi Valli. Additionally, Tommaso Monza is also an author, with a published collection of short stories titled Personaggi estranei in luoghi comuni.
Find out more
Info&Tickets
TICKETS
Full price: 3 euros
Free entry (Under 6)
TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: The box office opens one hour before the performance (via della Costituzione 39, Reggio Emilia).

Seats are unnumbered.
CONTACTS FOR RESERVATIONS
Phone & WhatsApp: +39 3341023554
Email: biglietteria@aterballetto.it

EVES
2024-11-05 20:30 - 21:30 | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
EVES is a project that connects astronomy and contemporary dance with the aim of promoting both. Dance engages with astronomy, scientific dissemination becomes a performance, and we embark on a journey to discover the universe and ourselves through the parallelism between the micro and macro cosmos.
Open rehearsal Monday, November 4 – 6:00 PM
Performance Tuesday, November 5 – 8:30 PM

Credits
Compagnia Natiscalzi DT
Choreography: Tommaso Monza and Claudia Rossi Valli
Dancer: Claudia Rossi Valli
Scientific dissemination: Prof. Claudio Melioli, Astrophysics
Set: Natiscalzi DT
Production: Cinqueminuti APS
With the contribution of Regione Emilia Romagna L.R. 13/99
With the support of Comune di Reggio Emilia
In collaboration with Binario49 – Associazione Casa D’Altri
Duration: 60′
Read more
[Do you think you’re sitting still right now?
You’re on a Planet that’s orbiting a Star at 30km/s.
That Star is orbiting the centre of a Galaxy at 250km/s.
That Galaxy is moving through the Universe at a rate of 600km/s.
We’re never still. We’re moving continuously.
Since you’ve started reading this, you’ve travelled about 3000km.]
EVES è nato fantasticando con la testa fra le nuvole, o forse come direbbe l’astrofisico Claudio Melioli (UniBo, USP São Paulo, Unimore) dell’associazione Binario49, è nato dalla forza di gravità che abbiamo esercitato entrambi per incontrarci su questo nuovo territorio: la possibilità di creare uno spettacolo di teatro danza e astronomia, a metà fra divulgazione scientifica e senso del sublime per il cosmo, tipico della poesia. Come un contemporaneo Leonardo Da Vinci ci appassioniamo al progetto senza separare arte e scienza, provando a raggiungere un punto comune fra le discipline che oltre ad essere nucleo sia anche involucro. Il progetto EVES è la ricerca di nuove forme di comunicazione ibrida, alla ricerca di una nuova strategia di divulgazione della conoscenza e del sapere in spazi altri e “non Luoghi” per generare nuove modalità di condivisione e incontro di nuovi pubblici.
COMPAGNIA NATISCALZI DT
CLAUDIA ROSSI VALLI
Trained as a dancer at the Theatre-Dance course of the Scuola d’Arte Drammatica Paolo Grassi in Milan. After graduating, she continued her studies in Italy and abroad, training with, among others, Compagnia Abbondanza/Bertoni (IT), The William Forsythe Company (DE), Retina Dance Company (UK), and Ampersandance Youth Company (UK). She was awarded a scholarship for the American Dance Festival 2012 (NYC, USA), where she was selected to dance with Shen Wei Dance Arts.
She has been a dancer with Compagnia Tiziana Arnaboldi (CH) since 2014 and Compagnia Zappalà Danza (IT) since 2015, performing in productions such as La Nona (winner of the Danza&Danza Best Production Award 2015), LavaBubbles, Vestire lo spazio, and I Am Beautiful. Since 2016, she has also been a dancer with Compagnia Abbondanza/Bertoni (IT), performing in Gli Orbi, Compleanno Pubblico Ballato, Capodanno RAI 2019, and La Morte e la Fanciulla, which won the Danza&Danza Best Production Award 2017.
Claudia has pursued her interest in choreography since 2012, receiving various accolades for her productions. In 2016, she co-founded Compagnia Natiscalzi DT with Tommaso Monza. In 2024, she won the **Premio Scenario Infanzia** with the show *Cosa hai in testa?*.
—
TOMMASO MONZA
Originally trained as a sculptor at the Brera Academy of Fine Arts, Tommaso Monza later transitioned to theatre-dance and contemporary dance, studying with Compagnia Abbondanza/Bertoni, Julien Hamilton, Roberto Castello, Ivan Wolf, Liat Waysbort, and Loren Potter.
Since 2005, he has been a dancer and collaborator with Compagnia Abbondanza/Bertoni, and since 2010, he has worked with Compagnia Ambra Senatore. In 2010, he began his own choreographic journey, creating a solo (Fra le mie dita rotte), a quartet (Piazze d’Italia), and a duet (Dei nostri eroi più fragili).
In 2012, he participated in the Choreoroam Europe project. Since then, he has developed ROD – Three Units on Kazakhstan, which was a finalist at Premio Equilibrio Roma 2014 and was presented at Mirabilia Festival Europeo 2014 (IT), MittelFest 2014 (IT), Festival Exister 2014 (IT), Vetrina Anticorpi XL 2014 (IT), and ArtBat Fest 2013 (KZ). In 2015, he was selected as a choreographer for the Anghiari Dance Hub project with his work *Sketches of Freedom*.
In 2016, he co-founded Compagnia Natiscalzi DT with Claudia Rossi Valli. Additionally, Tommaso Monza is also an author, with a published collection of short stories titled Personaggi estranei in luoghi comuni.
Find out more

Info&Tickets
TICKETS
Full price: 10 euros
Reduced price (Under 30, dance schools, Liceo Coreutico Matilde di Canossa, Over 65, CRAL Comune di Reggio Emilia members): 6 euros
Reduced price (Under 8): 3 euros
TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: The box office opens one hour before the performance (via della Costituzione 39, Reggio Emilia).

Seats are unnumbered.
CONTACTS FOR RESERVATIONS
Phone & WhatsApp: +39 3341023554
Email: biglietteria@aterballetto.it
