Fonderia is the house of dance and art in Reggio Emilia.
- Discover the companies, the artists and the choreographers of our dance season.
- Attend the performances and the open rehearsals.
- Enjoy, purely.
- All
- 14'20''
- Alpha Grace
- Another Story
- Antitesi
- Aterballetto
- Bach Project
- BLISS
- Chiostri San Pietro 2022
- Combattimento di Tancredi e Clorinda
- Dance Week 2025
- Don Juan
- Dreamers
- feeling good
- glory hall
- Golden Days
- In/Finito
- Kepler
- La stella nascosta
- Lorca sono tutti
- Lost in
- Meridiana
- MicroDanze
- Never odd or even
- Next Stop
- Nine Bells
- Notte Morricone
- O
- Open rehearsals
- Over Dance
- Pasiphae
- Performances
- Phoenix
- Productions
- Rain Dogs
- reconciliatio
- Rhapsody in Blue
- Season
- Season 2021
- Season January - June 2024
- season january july 2025
- Season January-July 2020
- season january-may 2022
- season September-December 2021
- Season September-December 2022
- Secus
- September - December 2024 season
- Shoot me
- solo echo
- special events
- Special projects
- Stabat Mater
- Stagione 25/26
- Stagione Faenza 2018-2019
- Stagione Forlì 2018-2019
- stagione gennaio giugno 2023
- Stagione gennaio-giugno 2019
- Stagione gennaio-giugno 2024
- stagione gennaio-giugno 2026
- Stagione settembre-dicembre 2018
- Stagione settembre-dicembre 2019
- Stagione settembre-dicembre 2023
- stagione settembre-dicembre 2025
- Stanze Rooms
- Storie
- Stravaganze in sol minore
- Streaming
- Tango Glaciale Reloaded
- Tempesta
- Trans Frontieres
- Upper-East-Side
- Upper-East-Side
- Wolf
- Yeled
- Yeled/Shoot me
NOTTE MORRICONE
In the prestigious setting of the Pays de Danses Festival in Liège, Aterballetto performs Notte Morricone by Marcos Morau on January 23 and 24, 2026.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep them safe. Notte Morricone is my gift, a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative spirit who, alone and dazed before his papers, jots down notes and envisions melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
Marcos Morau – Director and Choreographer
It is impossible to describe Notte Morricone, a masterful work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
The performances are held in collaboration with the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and with the Italian Cultural Institute of Brussels.
NOTTE MORRICONE
In the prestigious setting of the Pays de Danses Festival in Liège, Aterballetto performs Notte Morricone by Marcos Morau on January 23 and 24, 2026.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep them safe. Notte Morricone is my gift, a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative spirit who, alone and dazed before his papers, jots down notes and envisions melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
Marcos Morau – Director and Choreographer
It is impossible to describe Notte Morricone, a masterful work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
The performances are held in collaboration with the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and with the Italian Cultural Institute of Brussels.
Il combattimento di Tancredi e Clorinda
Il Combattimento di Tancredi e Clorinda arrives at Palazzo Bentivoglio in Gualtieri.
Sunday, January 25, 2026
3:00 PM and 5:00 PM
The Fondazione Museo Antonio Ligabue has a dream: to transform the Salone dei Giganti of Palazzo Bentivoglio into a living theatre. More than that, it envisions the frescoes depicting scenes from Gerusalemme liberata by Torquato Tasso coming to life through the dance of Il Combattimento di Tancredi e Clorinda, curated by the Centro Coreografico Nazionale / Aterballetto.
This is not just a performance. It is a one-of-a-kind site-specific event. The Sala dei Giganti houses the very frescoes that narrate the tragic duel between Tancredi and Clorinda. Painted art and performing art will face each other directly.
Myth will become flesh, breath, and movement.
Would you like to help make this ambitious dream a reality and become part of the myth?
Join the crowdfunding campaign here!
https://youtu.be/mjZQdcn1fgc
The theme of love overwhelmed by war and death, inspired by the story of Tancredi and Clorinda as told by Torquato Tasso in Gerusalemme Liberata (whose 450th anniversary of its first draft falls in 2025) and set to music by Claudio Monteverdi (1624), retains a striking relevance today.
The CCN/Aterballetto interprets this legacy through dance—its privileged language for conveying the work’s intensity and dramatic power—in a performance created by Fabio Cherstich and Philippe Kratz, performed by dancers Alessia Giacomelli and Kiran Gezels, tenor Matteo Straffi, and harpsichordist Deniel Perer.
The performance is preceded and followed by talks by Antonio Audino, theatre critic and journalist for Radio Rai 3, who, with his characteristic clarity, will cast a contemporary light on what are considered “sacred texts” of Italy’s cultural heritage.
Direction and visuals: Fabio Cherstich
Choreography and stage movement: Philippe Kratz
Music: Il Combattimento di Tancredi e Clorinda by Claudio Monteverdi
Dancers: Alessia Giacomelli, Kiran Gezels
Singer (tenor): Matteo Straffi
Harpsichord: Deniel PererCo-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
Premiered in September 2024, Il Combattimento di Tancredi e Clorinda is a project aimed at enhancing live performance activities within cultural institutions and heritage sites, promoted by the Directorate General for Museums and co-funded 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—established, with the support of the Directorate General for Museums, a partnership shared with five other major cultural sites: Villa Pisani in Stra, the Castle and Park of Racconigi, the Castello Svevo in Bari, the Certosa di San Martino in Naples, and the Archaeological Park of Venosa.
Castel Sant’Angelo in Rome later joined the project, hosting the initiative as part of the summer program Sotto l’angelo di Castello 2024.
The project is part of Italia Danza, a co-designed initiative by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs (MAECI) and CCN/Aterballetto, aimed at promoting Italy’s artistic heritage abroad.
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space, where the proximity and resemblance of bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating an humanity struggling against 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, indissolubly bound to one another, forced to fight and to enact a story that has already been written.
A single voice brings three characters to life: the text itself, Tancredi, and Clorinda merge into the body and sound of a single singer. This estranged sound, constrained within a circular path, creates a sense of constant repetition, underscoring the endless cycle of this story of love and death—tragically destined to repeat itself through the centuries and reach us today with all its force, as an emanation of the poetic power of Tasso’s words and the sublime music of Monteverdi.
Fabio Cherstich, Director
In Tasso’s narrative, set to music by Claudio Monteverdi, the most obvious themes are the struggle between woman and man and religious conversion. Yet these are also the aspects I find least intriguing: translating them into dance would risk reducing the work to a narrative of factual circumstances.
A more philosophical or psychoanalytic reading of this struggle—one from which both protagonists emerge defeated, deceived, and alone—appears far more compelling to me. Within the opposition of the two roles there already exists an entire world: seeking one another, confronting one another, and wounding one another. The dynamic is that of a warlike, conflictual ritual between two entities that draw closer. The absurdity of the act becomes evident when one of the two loses their life and we realize that the other, in any case, has not won… a deep, shared wound that remains on both bodies.
So are these two people fighting each other, or is it perhaps one person struggling with themselves?
Philippe Kratz, Choreographer
NOTTE MORRICONE
In the prestigious setting of the Pays de Danses Festival in Liège, Aterballetto performs Notte Morricone by Marcos Morau on January 23 and 24, 2026.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep them safe. Notte Morricone is my gift, a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative spirit who, alone and dazed before his papers, jots down notes and envisions melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
Marcos Morau – Director and Choreographer
It is impossible to describe Notte Morricone, a masterful work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
The performances are held in collaboration with the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and with the Italian Cultural Institute of Brussels.
Il combattimento di Tancredi e Clorinda
Il Combattimento di Tancredi e Clorinda arrives at Palazzo Bentivoglio in Gualtieri.
Sunday, January 25, 2026
3:00 PM and 5:00 PM
The Fondazione Museo Antonio Ligabue has a dream: to transform the Salone dei Giganti of Palazzo Bentivoglio into a living theatre. More than that, it envisions the frescoes depicting scenes from Gerusalemme liberata by Torquato Tasso coming to life through the dance of Il Combattimento di Tancredi e Clorinda, curated by the Centro Coreografico Nazionale / Aterballetto.
This is not just a performance. It is a one-of-a-kind site-specific event. The Sala dei Giganti houses the very frescoes that narrate the tragic duel between Tancredi and Clorinda. Painted art and performing art will face each other directly.
Myth will become flesh, breath, and movement.
Would you like to help make this ambitious dream a reality and become part of the myth?
Join the crowdfunding campaign here!
https://youtu.be/mjZQdcn1fgc
The theme of love overwhelmed by war and death, inspired by the story of Tancredi and Clorinda as told by Torquato Tasso in Gerusalemme Liberata (whose 450th anniversary of its first draft falls in 2025) and set to music by Claudio Monteverdi (1624), retains a striking relevance today.
The CCN/Aterballetto interprets this legacy through dance—its privileged language for conveying the work’s intensity and dramatic power—in a performance created by Fabio Cherstich and Philippe Kratz, performed by dancers Alessia Giacomelli and Kiran Gezels, tenor Matteo Straffi, and harpsichordist Deniel Perer.
The performance is preceded and followed by talks by Antonio Audino, theatre critic and journalist for Radio Rai 3, who, with his characteristic clarity, will cast a contemporary light on what are considered “sacred texts” of Italy’s cultural heritage.
Direction and visuals: Fabio Cherstich
Choreography and stage movement: Philippe Kratz
Music: Il Combattimento di Tancredi e Clorinda by Claudio Monteverdi
Dancers: Alessia Giacomelli, Kiran Gezels
Singer (tenor): Matteo Straffi
Harpsichord: Deniel PererCo-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
Premiered in September 2024, Il Combattimento di Tancredi e Clorinda is a project aimed at enhancing live performance activities within cultural institutions and heritage sites, promoted by the Directorate General for Museums and co-funded 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—established, with the support of the Directorate General for Museums, a partnership shared with five other major cultural sites: Villa Pisani in Stra, the Castle and Park of Racconigi, the Castello Svevo in Bari, the Certosa di San Martino in Naples, and the Archaeological Park of Venosa.
Castel Sant’Angelo in Rome later joined the project, hosting the initiative as part of the summer program Sotto l’angelo di Castello 2024.
The project is part of Italia Danza, a co-designed initiative by the Directorate General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs (MAECI) and CCN/Aterballetto, aimed at promoting Italy’s artistic heritage abroad.
In my vision of Il Combattimento di Tancredi e Clorinda, I imagine a confined, circular space, where the proximity and resemblance of bodies play a fundamental role. Together with choreographer Philippe Kratz, we explore the idea of bodies as mirrors, thus narrating an humanity struggling against 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, indissolubly bound to one another, forced to fight and to enact a story that has already been written.
A single voice brings three characters to life: the text itself, Tancredi, and Clorinda merge into the body and sound of a single singer. This estranged sound, constrained within a circular path, creates a sense of constant repetition, underscoring the endless cycle of this story of love and death—tragically destined to repeat itself through the centuries and reach us today with all its force, as an emanation of the poetic power of Tasso’s words and the sublime music of Monteverdi.
Fabio Cherstich, Director
In Tasso’s narrative, set to music by Claudio Monteverdi, the most obvious themes are the struggle between woman and man and religious conversion. Yet these are also the aspects I find least intriguing: translating them into dance would risk reducing the work to a narrative of factual circumstances.
A more philosophical or psychoanalytic reading of this struggle—one from which both protagonists emerge defeated, deceived, and alone—appears far more compelling to me. Within the opposition of the two roles there already exists an entire world: seeking one another, confronting one another, and wounding one another. The dynamic is that of a warlike, conflictual ritual between two entities that draw closer. The absurdity of the act becomes evident when one of the two loses their life and we realize that the other, in any case, has not won… a deep, shared wound that remains on both bodies.
So are these two people fighting each other, or is it perhaps one person struggling with themselves?
Philippe Kratz, Choreographer
NOTTE MORRICONE
On January 28 and 29, 2026, Aterballetto performs Notte Morricone by Marcos Morau at Theater Gütersloh in Germany.
“I, Ennio Morricone, am dead,” wrote the composer before taking his leave. His music, however, cannot die. This is how creators and artists always leave us without ever truly leaving, and how memory takes care to keep them alive, to keep them safe. Notte Morricone is my gift, a devoted tribute to the beauty he gave to the world.
Notte Morricone unfolds in the twilight of an ordinary night in the life of a creative spirit who, alone and dazed before his papers, jots down notes and envisions melodies for films that do not yet exist, bringing stories back to life in the rarefied air of his room.
Marcos Morau – Director and Choreographer
It is impossible to describe Notte Morricone, a masterful work that washes over the spectator in waves, embraces them with emotional currents, and captivates them with the memory of timeless melodies that have long outlived the images that first inspired them. Equally enchanting is the finely chiselled, ever-poetic choreography, composed with meticulous attention to detail: legs and necks seem jointless, bending and snapping rhythmically like metronomes.
Maria Luisa Buzzi – Danza&Danza
Duration: 90 minutes
Find out more »
NOTTE MORRICONE
Il 28 e 29 gennaio 2026, Aterballetto danza Notte Morricone di Marcos Morau al Theater Gütersloh in Germania.
“Io, Ennio Morricone, sono morto”, scrisse il compositore prima di congedarsi. La sua musica, invece, non può farlo. Ed è così che i creatori e gli artisti sempre ci lasciano senza lasciarci, ed è in questo modo che la memoria si preoccupa di tenerli vivi, di tenerli al sicuro. Notte Morricone è il mio regalo, un devoto tributo alla bellezza che ha donato al mondo.
Notte Morricone si svolge nel crepuscolo di una notte ordinaria nella vita di un creativo, che solo e stordito davanti ai suoi fogli, prende appunti e visualizza melodie per film che non esistono ancora, riportando in vita storie nell’aria rarefatta della sua stanza.
Marcos Morau – Regista e coreografo
Impossibile descrivere Notte Morricone, pezzo magistrale che arriva a flutti allo spettatore, lo abbraccia con onde emotive, lo cattura nella memoria di melodie intramontabili sopravvissute di gran lunga alle immagini che le hanno generate. Incantevole pure la coreografia cesellata e sempre poetica, composta con maniacale attenzione al dettaglio: gambe e collo sembrano privi di giunture, si flettono e scattano ritmicamente come metronomi.
Maria Luisa Buzzi – Danza&Danza
Durata 90′
Rhapsody in blue / Solo Echo / Glory Hall
Aterballetto performs in Canada as part of the Dance at the Royal Series by Dance Victoria on February 6 and 7, 2026.
On stage: Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, a lively and playful choreography echoing Gershwin’s famous score. This is followed by Crystal Pite’s Solo Echo, which, through Brahms’ sonatas for piano and cello, invokes winter to express something essential about acceptance and loss. The final piece, Glory Hall, is a new creation by Diego Tortelli, offering the company and the audience a fresco of sensuality and overwhelming vitality.
Impromptus. Arias, dances, and improvisations
IMPROMPTUS
Arias, dances, and improvisations
The Centro Coreografico Nazionale / Aterballetto and Fondazione Ravenna Manifestazioni collaborate once again to bring to life a project where dance and music meet, intertwine, and transform into original performances. The aim is to create a creative space in which choreographers and musicians work side by side, shaping works that arise from improvisation and mutual inspiration.
The project’s goal 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 (15–20 minutes) that express the intensity of this encounter.
Friday, February 6, 9:00 PM
Artificerie Almagià, Ravenna
Simone Zanchini – accordion
Matilde Di Ciolo and Matteo Capetola – dancers
Rhapsody in blue / Solo Echo / Glory Hall
Aterballetto danza in Canada all’interno del Dance at the Royal Series di Dance Victoria il 6 e 7 febbraio 2026.
In scena Rhapsody in blue di Iratxe Ansa e Igor Bacovich, coreografia divertente, vivace, come l’omonimo brano di Gershwin. A seguire Solo Echo di Crystal Pite che, attraverso le sonate per pianoforte e violoncello di Brahms, invoca l’inverno per esprimere qualcosa di essenziale sull’accettazione e la perdita. L’ultima coreografia Glory Hall è la nuova produzione firmata da Diego Tortelli, che regala alla compagnia e al pubblico un affresco di sensualità e travolgente vitalità.
Impromptus. Arias, dances, and improvisations
IMPROMPTUS
Arias, dances, and improvisations
The Centro Coreografico Nazionale / Aterballetto and Fondazione Ravenna Manifestazioni once again collaborate to bring to life a project in which dance and music meet, intertwine, and transform into original 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 project seeks 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 (15–20 minutes) that express the intensity of this encounter.
Saturday, February 7 – 8:30 PM
Fonderia, Reggio Emilia
Simone Zanchini – accordion
Matilde Di Ciolo and Matteo Capetola – dancers
From 7:30 PM, aperitif curated by Mercato del Tricolore / Campagna Amica
https://www.youtube.com/watch?v=eJX-lPCGkvY&list=RDeJX-lPCGkvY&start_radio=1
https://www.youtube.com/watch?v=9imfew2wUh4
Rhapsody in blue / Solo Echo / Glory Hall
Aterballetto performs at Stanford, California, on February 11 and 12, 2026.
On stage: Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, a playful, vibrant choreography echoing Gershwin’s iconic score. This is followed by Crystal Pite’s Solo Echo, which, through Brahms’ sonatas for piano and cello, summons winter to express something essential about acceptance and loss. The evening concludes with Glory Hall, a new creation by Diego Tortelli, offering both the company and the audience a fresco of sensuality and overwhelming vitality.
