Centro Coreografico Nazionale / Aterballetto

THE FRIDAS - PREVIEW
2025-04-04 21:00 - 21:45 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Danza in Fonderia, the CCN/Aterballetto series, hosts an exclusive preview of Sofia Nappi’s latest creation.

The Fridas is inspired by Frida Kahlo’s painting The Two Fridas and explores the complex theme of human identity through a relationship of complicity and contrast, going beyond simple dualism. Through gestures that reveal intimacy and vulnerability, challenging the conventions of masculinity, the two dancers on stage navigate emotional states and become an expressive vehicle for the countless facets contained within each individual.
After the performance, a talk with choreographer Sofia Nappi.

Credits
Choreography Sofia Nappi
in collaboration with dancers Paolo Piancastelli, Adriano Popolo Rubbio
Choreography assistant Glenda Gheller
Costume design Adriano Popolo Rubbio
Costume production Adriano Popolo Rubbio, Adelaide D’Ago
Lighting design Alessandro Caso
Music various artists
Production Komoco
Co-production Festival Danza in Rete – Teatro Comunale Città di Vicenza
With the support of Oriente/Occidente, Centro Coreografico Nazionale/Aterballetto
Project residency at the Centro di Rilevante Interesse Nazionale per la Danza Scenario Pubblico/CZD
Duration: approximately 25 minutes
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The Fridas is a duet inspired by the painting The Two Fridas by Frida Kahlo. It explores the complex theme of human identity through a relationship of complicity and contrast between two dancers. Mirrored and divergent movements embody inner conflicts and harmonies, while physical expressiveness and the use of space (in the Komoco language, considered a living element capable of both uniting and dividing) represent two complementary and essential aspects of the research.

However, the relationship between the two characters on stage goes beyond simple dualism. Through gestures that reveal intimacy and vulnerability, challenging conventions of masculinity, the dancers navigate emotional states and become an expressive vehicle for the countless facets contained within each individual. The painting “explodes,” and the duet thus reflects the ambiguity and multiple personalities that also characterized Kahlo herself:
“Within me, multiple identities are hidden; I am a mélange. A mix between a Mexican and an Indigenous person, but also a Mexican and a European. I am a painter and a wife. I love both women and men […]. In my painting, I want to represent precisely this: all my ambiguity—no, not ambiguity, my many personalities, my complexity.” (From *The Secret Lover of Frida Kahlo* by Caroline Bernard).

Designed for both theatrical and unconventional or museum spaces, The Fridas can be observed from different perspectives, adding nuances to the exploration of human essence and celebrating its complexity. However, the ending invites an ironic acceptance of life’s chaos: through parodic movements, the dancers find in humor the balm to keep facing the challenges of existence.
SOFIA NAPPI
Sofia Nappi is a choreographer and the artistic director of KOMOCO, a contemporary dance company based in Italy and active internationally, which she co-founded together with her first muses, Adriano Popolo Rubbio and Paolo Piancastelli. From the very beginning, Sofia’s early creations with KOMOCO won prestigious awards: the Partner Introdans Award (Rotterdam International Duet Choreography Competition 2021), and the 1st Prize, the Critics’ Prize, and the Production Prize at the 35th International Choreography Competition Hannover, awarded by the Tanja Liedtke Foundation and Marco Goecke (2021).
Currently, KOMOCO’s works choreographed by Sofia are presented in Italy and on international tours across Europe, as well as in Mexico, Canada, and Serbia, hosted by renowned institutions and international festivals. As an independent choreographer, Sofia also creates new works for internationally recognized dance companies and theaters, including Nederlands Dans Theater 2, Leipzig Ballet, Gauthier Dance//Dance Company Theaterhaus Stuttgart, Ballet BC, Göteborg Opera, National Theatre Mannheim, Staatsoper Hannover, and Scottish Dance Theatre.
In parallel, Sofia Nappi’s work extends to research and professional training at an international level, in close collaboration with the dancers of KOMOCO. Since 2022, she has been organizing the biannual company workshop “Komoco Intensive” in Florence, welcoming professional dancers from all over the world. Sofia graduated from the Alvin Ailey American Dance Theater in New York; her training has also been significantly influenced by her close connection with the Hofesh Shechter Dance Company and her study of Gaga, the movement language developed by renowned choreographer Ohad Naharin.
Info&Tickets
TICKETS
3 euros
PURCHASING TICKETS

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

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

Solo Echo / Rhapsody in Blue / Glory Hall
2025-04-05 20:30 - 22:00 (Europe/Rome) | L’Archipel, 1 rue des Îles, Fouesnant-les Glénan, 29170, Francia
The CCN/Aterballetto dances in Fousnant, France, the triptych composed of Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, Solo Echo by Crystal Pite, and Glory Hall by Diego Tortelli.
SOLO ECHO – Crystal Pite
Love, loss, and acceptance are at the heart of Solo Echo by the Canadian choreographer Crystal Pite, inspired by two cello and piano sonatas by Johannes Brahms and the poem “Lines for Winter” by Mark Strand. As in Strand’s poem, Solo Echo evokes winter, music, and the moving body to express something essential about acceptance and loss.

RHAPSODY IN BLUE – Iratxe Ansa & Igor Bacovich
«Rhapsody in Blue by George Gershwin has several attractive points for us. It is a splendid piece of music, well-known but not so frequently listened to by the younger generations. Introducing this work to young people is a good objective, and this piece can be a way to present a less distant and less “American” vision of Gershwin, going beyond the cultural context in which the rhapsody was created. The rhapsody will inevitably dictate the choreographic work, and the lively, sparkling changes with which to play are fantastic. » – Iratxe Ansa & Igor Bacovich

GLORY HALL – Diego Tortelli
Glory Hall by Diego Tortelli is a sensorial and rebellious journey in an in-between space, suspended between light and darkness. In a black but never truly dark space, the choreography unfolds as an ecstatic rite where sensuality and profane spirituality intertwine, creating a continuous interplay of pleasure, virtuosity, and the pursuit of a personal version of glory.

FELLINIANA – Omaggio a Fellini
2025-04-08 21:00 - 22:15 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
FELLINIANA – Tribute to Fellini is a performance that evokes the universe of the great Maestro and his most famous films through the choreography of Monica Casadei.
The bodies of the Artemis Danza Company move between dance and contemporary circus, dream and reality, accompanied by the unforgettable music composed by Nino Rota for Federico Fellini. Euphoric and sparkling choreography, virtuosity, and an irresistible humanity animate this performance, making it a poetic and sensitive manifesto that celebrates the history of Italian cinema and music.
Watch the video on YouTube
CREDITS
Choreography, direction, sets, and lighting Monica Casadei
Music Nino Rota
Costumes Daniela Usai
Production Compagnia Artemis Danza
In collaboration with Teatro Municipale di Piacenza, Teatro Comunale di Bologna, Istituti Italiani di Cultura in Chicago, Hong Kong, Jakarta, Prague, Tunis, Zurich
Project selected for Parma 2020+21 Italian Capital of Culture
With the contribution of Ministry of Culture, Emilia Romagna Region – Department of Culture
READ MORE
Felliniana revolves around the marvelous celebration of 8 ½ and lives through the joys and hopes of the clowns, the confessions of Gradisca, the voices and dialogues taken from the films, the scent of La Dolce Vita, the thousand colors of the circus, and the poetic power of Nino Rota.
A Fellinian breath enveloped the conception of the creation, which begins with a rarefied, intimate, philosophical start, moves into the surreal realism of the Romagna of Amarcord, and then warmly slides into the magical, crazy, and extreme world of the circus. A dancing people, a great theater of human illusion, poetic and ironic.
An idea of a world where diversity is wealth, where poetry is nourishment, and where all human beings, with their fragilities and divergences, can feel free and welcomed, for each one of them has a place on the merry-go-round of life designed by the great Maestro.
Monica Casadei
MONICA CASADEI
Of Ferrara origin and with a degree in Philosophy with honors, with a thesis on Plato and dance, Monica Casadei, after an athletic career in rhythmic gymnastics, devoted herself to the study of classical and modern dance, first in Italy, then in London, and finally in Paris, where she met choreographers Pierre Doussaint and Isabelle Doubouloz, and master André Cognard Hanshi So shihan, with whom she still practices the martial art of Aikido. In 1994, she founded the company Artemis Danza in France, and in 1997, she moved to Italy, where she began an intense production activity that now counts over fifty original creations. From 1998 to 2007, the company was in residence at the Fondazione Teatro Due in Parma, while from 2014 to 2018, it was in artistic residence at the Teatro Comunale in Bologna. Essential to Monica Casadei’s artistic research were her encounters with Federico Fellini, the investigative journey linked to the great lyrical tradition with performances such as Il Barbiere di Siviglia and the series of creations dedicated to opera heroines reinterpreted in a contemporary key (examples include Traviata, Tosca X, Carmen K, Butterfly – Colori Proibiti, Private Callas, Puccini’s Opera.Voci di Donne). Artemis Danza’s productions are characterized by contamination with different artistic, cultural, and geographical areas, as well as the exploration of urban places and spaces that become the stage for performative actions. In addition to its production activities, Artemis supports, produces, and promotes young authors and carries out many activities for audience development.
Info&Tickets
TICKETS
Full price: 10 euros
Discounted under 30, dance schools, Liceo Coreutico Matilde di Canossa, over 65, members of CRAL Comune di Reggio Emilia: 6 euros
Discounted under 8: 3 euros
TICKET PURCHASE

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

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

NOTTE MORRICONE
2025-04-10 20:30 - 22:00, 2025-04-11 20:30 - 22:00, 2025-04-12 20:30 - 22:00, 2025-04-13 15:30 - 17:00 (Europe/Rome) | Teatro Sociale, Via Felice Cavallotti, 20, Brescia
The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »
Duration 90′

Viaggio nel repertorio del balletto. Accademia Danza alla Scala
2025-04-12 18:00 - 19:15 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Accademia Teatro alla Scala. Cenerentola. ©Rosa Arcelloni.
First event of the project Viaggio nel repertorio del balletto, curated and led by dance journalist and critic Francesca Pedroni, in collaboration with the Accademia Teatro alla Scala.
The project Viaggio nel repertorio del balletto (A Journey Through the Ballet Repertoire), promoted by Centro Coreografico Nazionale Aterballetto and curated by dance journalist and critic Francesca Pedroni, embarks on a series of performance-talks. Hosted at the Fonderia in Reggio Emilia, the events feature guest artists—dancers and maîtres from Italy’s leading ballet companies—and aim to offer a behind-the-scenes look at the preparation of exemplary works from the great ballet seasons. A prologue to the project is today’s event with the Accademia Teatro alla Scala, which—together with Ballet School teacher Walter Madau and several upper-year students—explores the value of repertoire as a fundamental training ground.
Each event explores ballet repertoire and the technique of classical-academic dance, highlighting its connections with costume design, set design, and music—from the first rehearsals to the actual performance.
The first event features the Accademia Teatro alla Scala, presenting:
VARIAZIONE DI CENERENTOLAFrom CENERENTOLA by Frédéric OlivieriMusic by Sergei ProkofievStudent: Maria Vittoria Bandini
NEW SLEEP (DUET) by William ForsytheMusic by Thom WillemsStudents: Sienna Bingham e Michele Forghieri
PASSO A DUE DI MATTO E GELSOMINAFrom LA STRADA by Mario PistoniMusic by Nino RotaStudents: Francesco Della Valle, Laura Farina
VARIAZIONE DI GELSOMINAFrom LA STRADA by Mario PistoniMusic by Nino RotaStudent: Laura Farina
Accademia Teatro alla Scala. Grand Tour AFAM. Lucca, gennaio 2025. ©Munari.
CENERENTOLA
From CENERENTOLA by Frédéric Olivieri, set to music by Sergei Prokof’ev
Variation – Maria Vittoria Bandini
A great fairytale of ballet and the collective imagination, Cenerentola has always told the story of a dream becoming reality—thanks to the triumph of good over evil and the victory of values like kindness and generosity over envy, hypocrisy, and deceit. A beautiful lesson for the students of the Accademia Teatro alla Scala’s Ballet School, encouraging not only technical and interpretive growth on a professional level, but also a meaningful, human reflection on values central to their development as young artists.
Sergei Prokofiev, composer of the ballet’s lyrical score—which premiered at the Bolshoi Theatre in 1945—wrote:
“What I wanted to express above all in my music was the poetic love between Cinderella and the Prince: the birth and blossoming of this love, the obstacles in its path, and the fulfillment of the dream.”He also added:“I was eager to create a ballet that was as ‘danceable’ as possible, with a variety of dances woven into the story and offering the dancers plenty of opportunity to showcase their art.”
Commissioned by the Bracco Foundation, Frédéric Olivieri, Director of the Ballet School, created a new version of Cenerentola that fully responds to Prokofiev’s intentions—an ambitious two-act production tailored to the talent and training of the School’s young dancers. A dreamlike staging of which the School is justifiably proud, the production features hand-painted sets by Angelo Sala, specially designed costumes by Chiara Donato, and the collaboration of current and former students from the Academy’s costume-making program, together with the renowned Sartoria Brancato.
This collective work brings more than one hundred students to the stage in choreography rich with both virtuosic and expressive roles. Around the central characters of Cinderella and the Prince, the contrast between good and evil is drawn—without relying on the traditional aesthetic opposition between beauty and ugliness. The Stepmother and Stepsisters are not performed en travesti nor grotesquely made-up; it is left entirely to the dance to reveal the true nature of each character.
Francesca Pedroni
NEW SLEEP (DUET)
NEW SLEEP (DUET)

Choreography by William ForsytheMusic by Thom WillemsPerformed by: Sienna Bingham e Michele Forghieri
New Sleep (Duet) by William Forsythe: the joyful mechanics of partnering
New Sleep (Duet) is a brilliant example of William Forsythe’s post-classical dynamism. A master of the ever-evolving language of ballet, Forsythe has transformed classical academic vocabulary into something incandescent and radically contemporary. His is a dizzying creativity in which dancers’ virtuosity is both celebrated and expanded to its fullest potential. When we met Forsythe last year in Milan for the premiere of Blake Works V at Teatro alla Scala, he offered an insight that also perfectly applies to approaching the duet New Sleep:
“People often confuse the academy—which is the set of rules, the grammar—with choreography, which is the exception. The academy clearly prescribes the steps, how they are learned one after the other, in relation to tradition and history. We, as choreographers, must find a way to show what the academy gives to dancers, helping them understand what can be done with it, and where the difference lies between the rules of the School and the exceptions of choreography.”— William Forsythe, in Francesca Pedroni, William Forsythe – Il balletto: una gioia tra regole e formidabili eccezioni, Danza&Danza, n. 310, May–June 2023.
A beautiful challenge for such young dancers.
The duet is built around Thom Willems’ striking score—a long-time collaborator of Forsythe—filled with harsh, urban sounds that evoke a dance darting through the whir of metal machinery. The duet is a game of trust between the partners—she en pointe—a push, a hold, a release, full of off-balance movement.
The work has been restaged for the students by Forsythe dancer Noah Gelber and Kathryn Bennetts, with the support of the school’s resident teachers. Bennetts, a close collaborator of Forsythe since the late 1980s during his tenure at the Frankfurt Ballet, has long been responsible for reviving his repertoire internationally.New Sleep (Duet) is the third Forsythe work to enter the repertoire of the Accademia’s Ballet School, following The Vertiginous Thrill of Exactitude—unforgettable with its sharp, acid-yellow tutus—and, in 2019, In the Middle, Somewhat Elevated, also revived by Bennetts.
“New Sleep was originally created in 1987 for the San Francisco Ballet,” explains Bennetts. “It’s a piece I adore, which I’ve revived over the years in Zurich, Antwerp, Monte Carlo. It’s a wild, surreal, strange, and fun work. As often happens with Bill (short for William), there are many elaborations and later variations. The version of the duet restaged for the School was created for a gala in 2011, specifically choreographed on Katherina Markowskaja of the Bayerisches Staatsballett in Munich, partnered with Noah Gelber. It’s based on a duet from the original but features many modifications. It has its own distinct atmosphere—it’s fresh, current, and perfectly suited for the School. It develops a beautiful partnering technique, almost like in rock & roll. And when young dancers are intelligent and talented, they’re willing to take the risk and ride the speed—there’s a constant challenge in the space.”
“Returning to the Accademia’s Ballet School is always a joy for me,” Bennetts adds. “When I came for In the Middle, I worked with Linda Giubelli, Giorgia Pasini, Daniele Bonelli—and now I see them in major companies: at La Scala, the San Carlo in Naples, in Düsseldorf. Frédéric Olivieri has shaped the School as a true preparation for professional life, giving students the habit of approaching choreography from a very young age. It’s rare—and it pays off.”
Francesca Pedroni
LA STRADA
From LA STRADA (SUITE) by Mario Pistoni, set to music by Nino RotaVariazione di Gelsomina – Laura Farina
Passo a due del Matto e Gelsomina – Francesco Della Valle, Laura Farina
“La strada” by Mario Pistoni. Between Fellini and dance, Gelsomina lives again in a suite of excerpts
In 1966, La strada by Mario Pistoni premiered at Teatro alla Scala. A masterpiece imbued with a poignant sense of nostalgia and fleeting, fragile moments in which happiness seems possible—yet proves to be an illusion. The music is by Nino Rota. The story is inspired by Federico Fellini’s film of the same name, with an unforgettable Giulietta Masina in the role of Gelsomina. She travels the world with Zampanò, portrayed in the film by a brutish Anthony Quinn—a rough street performer who earns his living breaking chains with the strength of his chest. The Fool, a pure and childlike soul, plays the violin and shares Gelsomina’s sensitivity. On stage in 1966, the Fool was Mario Pistoni himself, and Gelsomina was danced by Carla Fracci. In later years, the role would be interpreted by Oriella Dorella, Alessandra Ferri, and Gilda Gelati. A principal dancer at Teatro alla Scala since 1951, Pistoni danced Romeo alongside Carla Fracci’s debut as Juliet in John Cranko’s historic 1958 production. Two years later, he made his debut as a choreographer.
La strada is a narrative ballet, cinematic not only in its inspiration but also in its three-dimensional staging, with simultaneous planes of action. It tells a story of everyday poverty and shattered hopes, set in a world dear to Fellini’s imagination—the circus—and blends classical technique with modern styles ranging from tango to jazz. A richly populated ballet, it offers young students the opportunity to explore emotion and storytelling through dance.
For the Ballet School, it was decided to restage a suite of selected scenes from La strada. This task was entrusted to Guido Pistoni, Mario’s nephew, a dancer trained at the Teatro dell’Opera di Roma who has previously performed in the ballet and now oversees his uncle’s repertoire.Guido Pistoni explains: “For the Ballet School, we chose to omit the more dramatic scenes from the original ballet, such as the Fool’s death. In agreement with Maestro Olivieri, I focused on the more danced sections and the circus characters, ending the ballet with the dreamlike scene of the three Pierrots alongside Gelsomina.”
The suite begins with a group scene involving numerous student couples, including some of the youngest pupils, and of course, Zampanò (guest artist and former Scala principal dancer Mick Zeni) and Gelsomina. It opens with a festive tango. Gelsomina enters with her small drum slung around her neck, tousled short hair, and that smiling, heart-tugging expression. The suite continues with Zampanò’s act, the shooting gallery, the wedding, and a jazz dance. Zampanò’s affair with a street woman saddens Gelsomina. Her variation is one of the most moving moments in the ballet. Gelsomina then encounters many characters: musicians, the Fool—with whom she dances a poignant pas de deux that reveals the personalities of both characters—soldiers, sandwich girls, ballerinas, and the Pierrots.
“Fellini and Giulietta Masina were very fond of the ballet,” recalls Guido Pistoni. “Whenever she could, she came to see La strada. I remember one time in Rome when my uncle called her on stage at the end of the performance and asked the orchestra’s first trumpet to play Gelsomina’s theme for her. Such pathos! The students worked very well, fully focused on both the technical and interpretive aspects. During the rehearsal weeks, with the help of their teachers, I saw them grow artistically. I’m glad this Italian work has been brought back to life.”
Francesca Pedroni
ACCADEMIA TEATRO ALLA SCALA
FONDAZIONE ACCADEMIA TEATRO ALLA SCALA
Established as a Foundation in 2001, the Accademia Teatro alla Scala boasts over two centuries of history, thanks to the Teatro alla Scala’s long-standing commitment to education and training—dating back to 1813, the year the Ballet School was founded. Still today, it is considered one of the most prestigious institutions for the teaching of dance.
With a faculty composed of artists and professionals from Teatro alla Scala, alongside leading experts from the performing arts sector, the Academy now covers virtually all professions in the live performance industry. It offers a broad catalogue of courses organized into four departments: Music, Dance, Stagecraft, and Management. This includes training programs, advanced specialization courses, first- and second-level academic diplomas equivalent to university degrees, as well as first-level master’s programs, workshops, and summer intensives.

DANCE DEPARTMENT
The Dance Department, directed since 2003 by Frédéric Olivieri—who has also recently returned to lead the Teatro alla Scala Ballet Company—offers courses for all age groups and educational needs in the field of dance. In addition to the Ballet School, the Department includes a five-year introductory dance program designed for children aged 6 to 10, which introduces them to dance through playful and expressive activities; an advanced training course in classical and contemporary dance for dancers wishing to refine their skills across different styles and choreographic methods; and first- and second-level academic programs aimed at training highly qualified classical dance teachers.
At the heart of the Department lies the Ballet School. Founded in 1813 by Francesco Benedetto Ricci, it has been led over the years by renowned ballerinas and distinguished masters, and has trained dancers of the highest calibre. Just a few names: Carla Fracci, Liliana Cosi, Luciana Savignano, Oriella Dorella, Roberto Bolle, Nicoletta Manni. Structured as an eight-year program, the School awards a diploma with a dual specialization in classical-academic dance and modern-contemporary dance—responding to the needs of international companies that now demand dancers proficient in an increasingly broad and diverse repertoire.
During their training, students take part in various productions of the Teatro alla Scala season and perform on important stages in Italy and abroad. A key element in their artistic development is the opportunity to interpret iconic choreographies by past and present masters such as Marius Petipa, August Bournonville, George Balanchine, Maurice Béjart, Anton Dolin, Mario Pistoni, Mauro Bigonzetti, Mats Ek, William Forsythe, Jiří Kylián, José Limón, Roland Petit, Angelin Preljocaj, and Demis Volpi.Additionally, works have been created specifically for the Ballet School by choreographers such as Davide Bombana, Shantala Shivalingappa, Matteo Levaggi, Emanuela Tagliavia, and Valentino Zucchetti.Also worth noting are the new choreographic versions of major repertoire titles signed by Frédéric Olivieri, including Lo schiaccianoci, Cenerentola (commissioned by the Bracco Foundation), and La fille mal gardée.
FRANCESCA PEDRONI
Dance critic for the newspaper Il manifesto and the magazine Danza&Danza. For the television channel Classica HD (formerly Sky Classica, channel 124), she worked as writer and director of the series Danza in Scena, producing over 70 documentaries dedicated to artists such as William Forsythe, Pina Bausch, and Alessandra Ferri. For cinema, she wrote and directed the docufilm Roberto Bolle. L’arte della Danza, produced by Classica and Artedanza srl. She curated the DVD collection I capolavori della danza, published by Classica HD in collaboration with Corriere della Sera. Since 2000, she has taught Dance History at the Accademia Teatro alla Scala and leads ballet talks for the Teatro alla Scala’s Under30/35 subscription program.
Info&TICKETS
TICKETS
6 euros
PURCHASING TICKETS

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens 30 minutes before the start of the performance (Via della Costituzione 39, Reggio Emilia).

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

NOTTE MORRICONE
2025-04-16 20:30 - 22:00 (Europe/Rome) | Teatro Comunale L. Pavarotti, Via del Teatro, 8, Modena, MO, 41121, Italia

Impromptus
2025-04-17 21:00 - 22:00 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
IMPROMPTUS
Arias, Dances, and Improvisations
The Centro Coreografico Nazionale / Aterballetto and Fondazione Ravenna Manifestazioni collaborate once again to create a new project, where dance and music meet, intertwine, and transform into unique performances. The aim is to create a creative space where choreographers and musicians work side by side, shaping works born from improvisation and mutual inspiration.
The goal of the project is to explore new ways of interaction between movement and sound, fostering a fluid and spontaneous relationship between the two disciplines. Through artistic experimentation, dancers and musicians push beyond the traditional boundaries of composition, creating short performances (from 15 to 20 minutes) that express the intensity of this encounter.
Friday, March 14, 8:30 PM
Fonderia, Reggio Emilia
Daniele Di Bonaventura bandoneon
Alfredo Laviano percussion
Roberto Tedesco and Gador Lago Benito dancers
Wednesday, April 17, 9:00 PM
Fonderia, Reggio Emilia
Francesco Angelico, Christian Barraco Cellos of the Orchestra Giovanile Luigi Cherubini
Leonardo Farina and Arianna Ganassi dancers
Info & Tickets
TICKETS
10 euros
TICKET PURCHASE

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

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

NOTTE MORRICONE
2025-04-24 19:30 - 21:00 (Europe/Rome) | Teatro Campoamor, C. Pelayo, 33003 Oviedo, Asturias, Spagna, Oviedo, Spain
The Centro Coreografico Nazionale/Aterballetto pays tribute to Ennio Morricone with the new production by Spanish choreographer Marcos Morau.
The Spanish artist, with his visionary power and ability to transfigure musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic influences.
Marcos Morau, to date the youngest choreographer to have received the National Dance Award, the highest recognition in Spain, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe, constantly nourished by cinema, photography, and literature. Now, for his first collaboration with CCN/Aterballetto, he has chosen to engage with the iconic compositions that have shaped the cinematic landscape of the past seventy years: those of Academy Award winner Ennio Morricone.
The director states: «With classical training and an avant-garde vocation, Morricone has always been beyond the trends of the moment. His music belongs to an entire century and has brought many of our great masters back to life. For this evening, I want 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, one that can live far beyond the films for which it was created».
Find out more »
Duration 90′
The performance in Oviedo is in collaboration with the Italian Cultural Institute in Madrid and the Directorate-General for Public and Cultural Diplomacy of the MAECI.

NOTTE MORRICONE
2025-04-27 19:00 - 20:30 (Europe/Rome) | Teatro de la Maestranza, Paseo de Cristóbal Colón, 22, Sevilla, Spagna
The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »
Duration 90′

The performance in Sevilla is in collaboration with the Italian Cultural Institute in Madrid and the Directorate-General for Public and Cultural Diplomacy of the MAECI

ITALIA DANZA - London
2025-04-29 11:00 - 13:30 (Europe/Rome) | Victoria and Albert Museum South Kensington, Cromwell Road, London, SW7 2RL, United Kingdom
Italia Danza, thanks to the collaboration with the Italian Cultural Institute in London, arrives in the UK capital with the performance Il Combattimento di Tancredi e Clorinda.
A cosmopolitan project, entrusted to the universal language of the body, promoted by the General Directorate for Public and Cultural Diplomacy of the Farnesina, and performed by CCN/Aterballetto, thanks to its vast repertoire of site-specific creations, designed to inhabit palaces, monumental or urban spaces, and symbolic cultural sites.

Victoria & Albert Museum South Kensington – London, April 29, 2025, at 11 AM and 1 PM

As part of the Performance Festival at the V&A Museum, CCN/Aterballetto celebrates International Dance Day with Il Combattimento di Tancredi e Clorinda, a dance and live music performance created in September 2024 to enhance Italian cultural heritage, co-designed with the General Directorate of Museums of the Ministry of Culture.
Within the stunning Raphael Gallery of the V&A Museum, the story of love and death narrated by Torquato Tasso in Gerusalemme Liberata (1575) and set to music by Claudio Monteverdi (1624) will come to life. The performance, directed by Fabio Cherstich and Philippe Kratz, features dancers Gador Lago Benito and Alberto Terribile, tenor Matteo Straffi, and harpsichordist Deniel Perer.

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
Singer: MATTEO STRAFFI
Harpsichord: DENIEL PERER

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 cultural institutions and heritage sites, promoted by the General Directorate of Museums and co-financed by the General Directorate for Performing Arts.
To implement the project, the National Museums of Perugia – Regional Directorate of National Museums of Umbria—specifically the National Archaeological Museum and Roman Theatre of Spoleto—have established, with the support of the General Directorate of Museums, a partnership shared with five other significant cultural sites: Villa Pisani in Stra, Castello and Park of Racconigi, Swabian Castle of Bari, Certosa di 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 festival Sotto l’angelo di Castello.

The project is part of Italia Danza, a co-designed initiative by the General Directorate for Public and Cultural Diplomacy of the Maeci and CCN/Aterballetto to promote Italian 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 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 our vision, Tancredi and Clorinda are contemporary warriors, inextricably bound to one another, forced to fight and enact a story that has already been written.
A single voice will bring three characters to life: the text itself, Tancredi, and Clorinda will merge into the body and sound of a singer. This estranged sound, constrained by a circular path, creates a sense of constant repetition, emphasizing the endless cycle of this tale of love and death, doomed to repeat itself through the centuries and reach us with all its force, as an emanation of the poetic power of Tasso’s words and Monteverdi’s sublime music.
Fabio Cherstich, Director
INNER STRUGGLE
In Torquato Tasso’s tale, set to music by Claudio Monteverdi, the most obvious themes are the battle between man and woman and religious conversion, yet these are the aspects I find least intriguing: adapting them into dance would risk falling into a mere narration of factual circumstances.
A more philosophical or psychoanalytical reading of this struggle, from which both protagonists emerge defeated, deceived, and alone, seems far more compelling to me. Within the opposition of these two roles, an entire world already exists: seeking each other, confronting each other, and wounding each other. The dynamic follows the ritualistic pattern of war and conflict, as two entities draw near. The absurdity of the act is revealed when one of them loses their life, and we realize that the other, in the end, has not won… a deep and shared wound that remains on both bodies. Are they two people fighting each other, or perhaps a single person struggling with themselves?
Philippe Kratz, Choreographer

Solo Echo / Rhapsody in Blue / Glory Hall
2025-04-30 19:30 - 21:00 (Europe/Rome) | Museo Universidad de Navarra, Campus Universitario s/n 31009, Pamplona, Spagna
The CCN/Aterballetto performs in Pamplona as part of the 7th edition of the festival *Museo en Danza* with the triptych consisting of Solo Echo by Crystal Pite, Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, and Glory Hall by Diego Tortelli.
SOLO ECHO – Crystal Pite
Love, loss, and acceptance lie at the heart of Solo Echo by Canadian choreographer Crystal Pite, inspired by two cello and piano sonatas by Johannes Brahms and the poem Lines for Winter by Mark Strand. As in Strand’s poem, Solo Echo evokes winter, music, and the moving body to express something essential about acceptance and loss.

RHAPSODY IN BLUE – Iratxe Ansa & Igor Bacovich
«Rhapsody in Blue by George Gershwin offers us several attractive points: it is splendid music, well-known but not so frequently heard by the younger generations. Introducing this work to young people is a worthy goal, and this piece can be a way to present a less distant and less “American” vision of Gershwin, moving beyond the cultural context in which the rhapsody was created. Inevitably, the rhapsody will dictate the choreographic work; the cheerful and lively changes it offers are fantastic to play with.» – Iratxe Ansa & Igor Bacovich

GLORY HALL – Diego Tortelli
Glory Hall by Diego Tortelli is a sensorial and rebellious journey into an in-between space, suspended between light and darkness. The music leads in a crescendo of harmony and transgression, creating a boundless ecstasy that blends rock sounds with symphonic melodies.
blockquote>The performance in Pamplona is in collaboration with the Italian Cultural Institute in Madrid and the Directorate-General for Public and Cultural Diplomacy of the MAECI.

NOTTE MORRICONE
2025-05-06 20:00 - 21:30, 2025-05-07 20:00 - 21:30 (Europe/Rome) | Maison des Arts, Pl. Salvador Allende, Créteil, 94000, Francia
The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »
Duration 90′
Durata 90′
The performances at Maison des Arts in Creteil, on 6th and 7th May 2025, are in partnership with Istituto Italiano di Cultura a Parigi and Direzione Generale per la diplomazia pubblica e culturale del MAECI

Solo Echo / Rhapsody in Blue / Glory Hall
2025-05-09 19:30 - 21:00, 2025-05-10 19:30 - 21:00, 2025-05-11 18:00 - 19:30 (Europe/Rome) | Oldenburgisches Staatstheater, Theaterwall 19, 26122 Oldenburg, Germania, Oldenburg, Germany
SOLO ECHO – Crystal Pite
Love, loss, and acceptance lie at the heart of Solo Echo by Canadian choreographer Crystal Pite. Inspired by two cello and piano sonatas by Johannes Brahms and Mark Strand’s poem “Lines for Winter,” Solo Echo evokes winter, music, and the moving body to express something essential about acceptance and loss.
RHAPSODY IN BLUE – Iratxe Ansa & Igor Bacovich
«Rhapsody in Blue by George Gershwin holds many points of fascination for us. It is a magnificent piece of music—well-known yet not frequently listened to by younger generations. Introducing this work to a new audience is a valuable goal, and this production offers a perspective on Gershwin that feels less distant and less “American,” transcending the cultural context in which the rhapsody was created. Inevitably, the rhapsody itself will shape the choreography, and the lively, sparkling shifts within the music provide a fantastic playground for exploration.» – Iratxe Ansa & Igor Bacovich

GLORY HALL – Diego Tortelli
Glory Hall by Diego Tortelli is a sensory and rebellious journey through a liminal space, suspended between light and darkness. The music leads the way in a crescendo of harmony and transgression, evoking a boundless ecstasy that blends rock influences with symphonic melodies.

Dance your time - open rehearsal
2025-05-10 18:00 - 19:00 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
As part of the Danza in Fonderia festival, the Centro Coreografico Nazionale/Aterballetto presents a special event featuring Dance Your Time, the advanced training course for young dancers, in collaboration with CNA Fo.Er.
On stage, the final choreographic outcome of the module led by Sasha Riva and Simone Repele, the result of two weeks of intensive work.
The creation, set to the music of Swan Lake by Pyotr Ilyich Tchaikovsky, offers an opportunity to discover the talent of young performers and the sensitive, visionary language of the two choreographers.
The open rehearsal begins with a talk moderated by Azzurra Di Meco, dance journalist and critic, who will engage in conversation with the choreographers to offer the audience insight into the creative process and the training path undertaken by the participants.
SASHA RIVA & SIMONE REPELE
Sasha Riva, born in 1991, and Simone Repele, born in 1993, both completed their studies in Hamburg at the School of the Hamburg Ballet John Neumeier. After several years dancing with companies such as the Hamburg Ballet and the Geneva Ballet, they founded Riva & Repele in 2020, dedicating themselves to choreographic creation while continuing to perform as dancers.
They have created poetic and sensitive choreographies such as Lili Elbe Show and Dear Son, presented at international festivals and theatres. They have collaborated with international companies including the Stuttgart Ballet, Augsburg Ballet, Rome Opera House, and Teatro Massimo in Palermo, and their upcoming projects will see them creating for the Béjart Ballet. They have been described as the “Poets of Dance” for the expressive power of their choreographic language.
Info&Tickets
TICKETS
Full price: €3
Under 6: free admission
TICKET PURCHASE

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

Tickets are unassigned (no seat numbers).
CONTACTS FOR RESERVATIONS
Phone and WhatsApp: +39 334 1023554
Email: biglietteria@aterballetto.it

NOTTE MORRICONE
2025-05-14 19:30 - 21:00 (Europe/Rome) | Hessisches Staatstheater, Christian-Zais-Str. 3, Wiesbaden, 65189, Germania
The Centro Coreografico Nazionale/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
With his visionary power and ability to transfigure musical universes, the Spanish artist presents a unique creation intertwining the music of Academy Award-winning composer Ennio Morricone with dance, visual arts, and cinematic influences.
Marcos Morau, the youngest choreographer to receive the National Dance Award—Spain’s highest dance honor—builds imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe, constantly nourished by cinema, photography, and literature. Now, in his first collaboration with CCN/Aterballetto, he has chosen to work with the iconic compositions that have shaped the cinematic landscape over the past seventy years: those of Academy Award-winning composer Ennio Morricone.
The director says: «Classically trained yet avant-garde in spirit, Morricone was always beyond the trends of his time. His music belongs to an entire century and has brought many of our great masters back to life. For this evening, I want 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, one that can live beyond the films for which it was created.»
Find out more »
Duration: 90′
The performance in Wiesbaden is presented in collaboration with the General Directorate for Public and Cultural Diplomacy of MAECI and the Italian Cultural Institute in Köln.

NOTTE MORRICONE
2025-05-17 19:30 - 21:00 (Europe/Rome) | Kurtheater, Parkstrasse 20, Baden, 5401, Svizzera

NOTTE MORRICONE
2025-05-21 19:30 - 21:00 (Europe/Rome) | Graf-Zeppelin-Haus, Olgastraße 21, Friedrichshafen, 88045, Germany
The Centro Coreografico Nazionale/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
With his visionary power and ability to transfigure musical universes, the Spanish artist presents a unique creation intertwining the music of Academy Award-winning composer Ennio Morricone with dance, visual arts, and cinematic influences.
Marcos Morau, the youngest choreographer to receive the National Dance Award—Spain’s highest dance honor—builds imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe, constantly nourished by cinema, photography, and literature. Now, in his first collaboration with CCN/Aterballetto, he has chosen to work with the iconic compositions that have shaped the cinematic landscape over the past seventy years: those of Academy Award-winning composer Ennio Morricone.
The director says: «Classically trained yet avant-garde in spirit, Morricone was always beyond the trends of his time. His music belongs to an entire century and has brought many of our great masters back to life. For this evening, I want 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, one that can live beyond the films for which it was created.»
Find out more »
Duration: 90′

NOTTE MORRICONE
2025-05-24 20:00 - 21:30, 2025-05-25 18:00 - 19:30 (Europe/Rome) | Ruhrfestspielhaus Großes Haus, Otto-Burrmeister-Allee 1, Recklinghausen, 45657, Germany
The Centro Coreografico Nazionale/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
With his visionary power and ability to transfigure musical universes, the Spanish artist presents a unique creation intertwining the music of Academy Award-winning composer Ennio Morricone with dance, visual arts, and cinematic influences.
Marcos Morau, the youngest choreographer to receive the National Dance Award—Spain’s highest dance honor—builds imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe, constantly nourished by cinema, photography, and literature. Now, in his first collaboration with CCN/Aterballetto, he has chosen to work with the iconic compositions that have shaped the cinematic landscape over the past seventy years: those of Academy Award-winning composer Ennio Morricone.
The director says: «Classically trained yet avant-garde in spirit, Morricone was always beyond the trends of his time. His music belongs to an entire century and has brought many of our great masters back to life. For this evening, I want 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, one that can live beyond the films for which it was created.»
Find out more »
Duration: 90′
The performances at the Ruhrfestspiele are presented in collaboration with the General Directorate for Public and Cultural Diplomacy of MAECI and the Italian Cultural Institute in Köln.

NOTTE MORRICONE
2025-06-05 20:00 - 21:30, 2025-06-06 20:00 - 21:30 (Europe/Rome) | Pavillon Noir, 530 Avenue Mozart, Aix-en-Provence, Francia
The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.
The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »
Duration 90′
The shows are in partnership with Directorate-General for Public and Cultural Diplomacy of Ministry of Foreign Affairs and International Cooperation and Italian Institute of Culture in Marseille

Made in Italy 35.0
2025-06-05 21:00 - 22:30, 2025-06-06 21:00 - 22:30 (Europe/Rome) | Fonderia, via della Costituzione, 39, Reggio Emilia, 42124, Italy
Double performance:
Thursday, June 5 – 9:00 PMFriday, June 6 – 9:00 PM
The protagonists of the evening are the dancers of Agora Coaching Project, an advanced training project promoted and supported by MM Contemporary Dance Company and A.S.D Progetto Danza of Reggio Emilia, under the artistic direction of Michele Merola and Enrico Morelli. Launched in 2010, the course is gaining full recognition in the European dance scene and boasts collaborations with internationally renowned teachers and choreographers.
The evening features two choreographies: Passo d’addio by Claudia Rossi Valli and Last movement of hope – III Chapter: Annunciation by Adriano Bolognino.
AGORA COACHING PROJECT
Agora Coaching Project is a year-long advanced dance training program for dancers aged between 18 and 22, based in Reggio Emilia. Founded in 2010, it is directed by Michele Merola and Enrico Morelli, and is promoted and supported by MM Contemporary Dance Company and the Centro Permanente Danza of Reggio Emilia.
The program aims to train artists who are prepared to face the diversity of the international dance market with flexibility — dancers capable of responding to its various technical and stylistic demands. The project offers a wide range of stimuli, including technical training, cultural enrichment, and opportunities for exchange between students and choreographers, each of whom brings a unique and valuable perspective from the international dance scene.
Agora allows young dancers to meet established choreographers from diverse stylistic backgrounds. Over the years, many renowned names have taken part in the project. Alongside Michele Merola and Enrico Morelli, the program is supported by a team of highly qualified instructors, each with proven experience in the field.
Passo d'addio
by Natiscalzi DT
concept/choreographic dramaturgy/texts: Claudia Rossi Valli
artistic assistance: Tommaso Monza
music: F. F. Chopin, Niccolò Fabi, Ori Litchi, Meitei, Olivia Sellerio, Michael Wall
dance and voices: Agora Coaching Project
duration: 40 min.
addìo: interjection and noun [A form of farewell used when parting for good. “Dare l’a.” — to say goodbye to a place or thing, to leave it forever. Also plural, “gli addii” — the final farewells, the separation.] — Treccani
Passo d’Addio is a sensorial and emotional journey through the many nuances of final moments. The performance explores the concept of “farewell” and “last time” as physical, sonic, and poetic acts, transforming images, thoughts, and memories into movement. By sharing the creative process with the performers, the stage becomes a sensory lab — a collective, corporeal narrative.
How do we know this will truly be the last time? How does our best farewell move? Sometimes, it makes space like revenge; other times, it tickles a laugh or gently brushes the cheek, consoles us like a prayer, cradles us like a lullaby. Sometimes, the farewell is whispered; other times, it crashes — tumbling down the stairs. What does a farewell taste like? The taste of melancholy?
My farewell tastes like salted caramel on the last ice cream cone of that summer.
What does our farewell sound like?
It strikes the bass drum of our lungs and then reverberates to the edges of us.
It stumbles on our teeth, bounces off the palate, falling in and out of us, not knowing where its echo will land.
It skips across our goosebumps, turning into dismay — and a nocturnal forest.

LAST MOVEMENT OF HOPE - III CHAPTER: ANNUNCIAZIONE
choreography: Adriano Bolognino
assistant: Rosaria Di Maro
music: Luke Howard, Giuseppe Villarosa, M83
performers: Agora Coaching Project
duration: 20 min.
“Facing dust storms, I will fight until the end.
Creatures of my dreams: rise and dance with me.
Now and forever, I am your King.”
The need to be reborn arrives loudly — and perhaps you hear it shout even louder when faced with the fear of loss. Then, perhaps, filling up before it empties, building before it collapses, seems like the right path. The need for rebirth comes when you start to envision a void you cannot leap over. So you decide to plant seeds around it, to water a garden you can lie on — a garden that can hold you when pain brings you to your knees. A garden not of flowers, but of breath, waiting, and names not yet spoken. An energy that moves, tears, pushes. It descends, flows through bodies, uniting them. It opens a space, a passage. A pulsating collective body that crosses the threshold.
This work is part of a collection of micro-dances titled Last Movement of Hope, conceived as a larger project — a collection, a book in which each chapter represents a moment of creative exploration, an emotion, an encounter, or a reflection. It was born from the desire to explore and narrate the human experience through dance, in all its complexity: our relationships with ourselves and others, our fears, struggles, and, above all, the hope that drives us forward.
INFO AND TICKETS
TICKET PURCHASE
Tickets can be purchased online at www.biglietteriafonderia39.it
The box office opens one hour before the performance begins.
Seats are unassigned.
CONTACTS
Mobile & WhatsApp: +39 334 1023554
Email: biglietteria@aterballetto.it

Italia Danza - Edinburgh
2025-06-12 18:00 - 20:00 (Europe/Sofia) | Istituto Italiano di Cultura, 20-22 East London Street, Edimburgo, United Kingdom
Italia Danza arrives in Edinburgh.
A cosmopolitan project, entrusted to the universal language of the body, promoted by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs, and interpreted by CCN/Aterballetto thanks to its extensive repertoire of site-specific creations. A contemporary repertoire that includes the MicroDanze (short choreographies for confined spaces, created by Italian and international choreographers), as well as stage performances adapted for the occasion, making them suitable to be presented anywhere.
Italian Cultural Institute of Edinburgh, 12 June 2025 at 6:00 PM and 7:00 PM
On the occasion of the inauguration of the new premises of the IIC, CCN/Aterballetto will perform four MicroDanze in the indoor and outdoor spaces of the Institute. On stage: Eppur si muove by Francesca Lattuada, Turn the Tide by Roberto Tedesco, Near life experience by Angelin Preljocaj, and A Gig by Diego Tortelli.
