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.

NOTTE MORRICONE

Arena Sferisterio Macerata
1 August H 21.00

“‘I, Ennio Morricone, am dead,’ wrote the composer before bidding farewell. His music, on the other hand, cannot. And thus, creators and artists always leave us without leaving us, and thus memory takes care to keep them alive, to keep them safe. Notte Morricone is my gift, a devout tribute to the beauty he gave to the world. Ennio Morricone could be my father, or my grandfather, I am a direct heir to his legacy, to the films that (whether masterpieces, good, mediocre, or bad) owe him an immeasurable debt.” – Marcos Morau

Notte Morricone, the new creation of CCN / Aterballetto by the award-winning choreographer Marcos Morau, debuts on August 1, 2024, at the Arena Sferisterio of the Macerata Opera Festival. The show features the entire ensemble of the Aterballetto Company and, thanks to a group of national co-producers, celebrates the indelible artistic legacy of Oscar-winning Ennio Morricone.

After collaborating with some of the most renowned international choreographers, such as Jiří Kylián, Ohad Naharin, and Johan Inger, the CCN now turns to Marcos Morau, one of the most sought-after choreographers in the contemporary scene. The Spanish author, with his visionary power and the ability to transfigure musical universes, proposes a unique evening that intertwines dance, visual arts, and cinematic suggestions. According to Gigi Cristoforetti, “thanks also to the collaboration of important production partners, some of whom have been faithful over the years, others brand new and arrived for the occasion, the CCN/Aterballetto faces its most ambitious challenge.”

With an innate tendency to reconcile very different vocabularies and inspirations, Marcos Morau is an artist capable of deeply interrogating contemporaneity, of which he is an intense choreographic voice, but not only. In him, the theme of the hybridization of languages is “native,” as we could say borrowing the expression used for millennials and their digital practice.

The show is the result of interdisciplinary collaborations between dance, music, and theater entities. Two main co-producers: Macerata Opera Festival (first outdoor: August 1, 2024) and Teatro di Roma (first indoor: October 24 at Teatro Argentina, where the performances will continue until November 10). Also co-producing are the Fondazione I Teatri di Reggio Emilia, the Centro Servizi Culturali Santa Chiara of Trento, the Centro Teatrale Bresciano, and Ravenna Festival which has made available the Orchestra Giovanile Luigi Cherubini, to which the score is entrusted, adapted and transcribed by Maestro Maurizio Billi.

 

Direction and choreography MARCOS MORAU
Music ENNIO MORRICONE
Musical direction and adaptation by MAURIZIO BILLI
Sound design ALEX RÖSER VATICHÉ, BEN MEERWEIN
Set and lighting MARC SALICRÚ
Costumes SILVIA DELAGNEAU
Choreography assistants SHAY PARTUSH, MARINA RODRÍGUEZ

Production Fondazione Nazionale della Danza / Aterballetto

Commission, co-production, outdoor premiere Macerata Opera Festival
Co-production, indoor premiere 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

Outdoor premiere August 1, 2024, Macerata Opera Festival

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

“People often ask me what music I listen to, what music inspires or accompanies me in my daily life, and I always respond in the same way: from classical music to the 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 unsaid and unseen 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 a classical background and avant-garde vocation, Morricone has always been beyond the trends of the moment. Today, three years after his death, Morricone continues to inspire artists and visionaries from 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)

Recently appointed Knight 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 constructs imaginary worlds and landscapes where image, text, movement, music, and space constitute a unique universe that is 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 Avignon Festival, Tanz Im August in Berlin, the RomaEuropa Festival, the SIDance Festival in 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 various companies and theaters where he develops new creations, always halfway between 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 Prize, the highest recognition in Spain, the future of Morau and La Veronal aims at the search for new formats and languages where opera, dance, and physical theater dialogue more than ever, seeking new ways of expression and communication in our present time, always turbulent and constantly evolving.

From this season onwards, he is an associated 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 are drawn into what also proves 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

Castel Sant’Angelo Rome
13 September H 19.30

One of Claudio Monteverdi’s most extraordinary works, Il combattimento di Tancredi e Clorinda, which is universally renowned as a masterpiece of Italian Baroque music, celebrates its 400th anniversary in 2024. It has become the foundation for an innovative multidisciplinary project where music, singing, theater, and dance converge in a harmonious blend 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.

SOTTO L’ANGELO DI CASTELLO 2024
ROME – CASTEL SANT’ANGELO
13 September 2024 – h 19.30 and 21.00
duration of each performance: 20 minutes
Preview of the theatrical version

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

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

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

From 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

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

Reconciliatio

Basilica di San Petronio Bologna
16 September H 20.30

The CCN/Aterballetto is among the guest artists at Memorare ’24. Dance and song for peace in the Basilica of San Petronio.

The event, promoted by the Church of Bologna under the guidance of Cardinal Matteo Zuppi, the Municipality of Bologna and Mayor Matteo Lepore, the Teatro Comunale di Bologna and Superintendent Fulvio Macciardi, was conceived by Vittoria Cappelli, who developed the artistic project together with Valentina Bonelli and Don Stefano Culiersi.

A preparation for the upcoming Jubilee, an opportunity for reconciliation with God, with our brothers, and with the earth, which we cannot neglect. The resonance is with Pope Francis’s appeal to be “all brothers,” in a culture of peace, as the pontiff writes in his encyclical on universal fraternity. From Bologna, Memorare ‘24 will launch Cardinal Matteo Zuppi’s invitation to unite in giving hope to the world, in the spirit of solidarity. The gathering of the community responding to this call aims to be a barrier against the winds of war, both old (among others, we remember the Monte Sole massacre, Marzabotto – Bologna, in 1944) and current, especially the ongoing conflicts in Ukraine and Palestine, which provoke and taint our consciences by offering only paths of violence.

For the occasion, CCN/Aterballetto presents for the first time Reconciliatio, an original choreography by Angelin Preljocaj, specially composed for Memorare ’24. To the piano notes of Beethoven’s “Moonlight” Sonata, the female duo composed of Estelle Bovay and Arianna Kob unfolds in a pensive nocturne, between intimate retreats and altruistic impulses. Interpreting the liberating journey of reconciliation to overcome one’s grievances.

Somewhere Between

Fonderia Reggio Emilia
17 September H 21.00

The 2024/25 dance season at the Fonderia opens with Somewhere Between by FLOCK, a company founded in New York in 2017 by choreographers Florian Lochner and Alice Klock.

“With a quality that is both liquid and articulated, jointed and limbed throughout, the interlocking partnering among the dancers […] produces forms that evolve and develop like watching an agave bloom in the fluctuating luminescence of a desert sky.”

Irene Hsiao, The Chicago Reader

Alice Klock and Florian Lochner, co-directors of FLOCK, bring together artists and audiences in open, dynamic, and joy-based environments, creating work that communicates on many different levels and builds a community and a new understanding of what dance can be.

Somewhere Between examines how memory and imagination influence our reality and our definition of self. Drawing on myths or childhood stories, this new creation is emblematic of FLOCK’s work, featuring duets and group collaborations, complex movements, and an emotionally rich narrative.

Choreography: Alice Klock and Florian Lochner
Dancers: Liane Aung, Alice Klock, Emily Krenik, Florian Lochner, Robert Rubama, Kevin J Shannon
Music: Angus MacRae, Natalia Tsupryk, Brambles, Cedric Vermue, Richard Skelton, Wolff Bergen, Michael Wall, Clem Leek, Rob Lewis
Technical Director/Lighting Designer: Julie E. Ballard
Costumes: FLOCK

Duration: 1h 5′ without intermission

 

Alice Klock and Florian Lochner met at Hubbard Street Dance Chicago and founded the dance company FLOCK in 2017, through which they perform internationally and co-create new choreography for film and stage. Together, they work as choreographers for various dance companies, universities, and cultural institutions including Hubbard Street Dance Chicago, Whim W’Him, Ballet Idaho, Seattle Dance Collective, Ballet Arkansas, Emergence, Goethe Institut, Adaptations Dance Theater, Alonzo King LINES Ballet BFA, and 92nd Street Y. Their main goal for 2023 is to create and tour new FLOCK shows internationally with rotating teams of collaborators. In all their work, they are committed to bringing artists and audiences together in open, dynamic, and joyful environments.

Find out more

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

Tickets are not numbered.

CONTACTS FOR RESERVATIONS

Phone and WhatsApp: 3341023554

Email: biglietteria@aterballetto.it

Il Combattimento di Tancredi e Clorinda

Fonderie Limone Moncalieri
20 September H 19.30

One of Claudio Monteverdi’s most extraordinary works, Il combattimento di Tancredi e Clorinda, which is universally renowned as a masterpiece of Italian Baroque music, celebrates its 400th anniversary in 2024. It has become the foundation for an innovative multidisciplinary project where music, singing, theater, and dance converge in a harmonious blend 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.

TORINODANZA FESTIVAL
FONDERIE LIMONE – SALA PICCOLA | RING – MITO SettembreMusica
20 – 21 September 2024 – 7:30 PM and 10:15 PM
Duration of each performance: 20 minutes
Preview of the theatrical version

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

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

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

From 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

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

Il Combattimento di Tancredi e Clorinda

Fonderie Limone Moncalieri
21 September H 19.30

One of Claudio Monteverdi’s most extraordinary works, Il combattimento di Tancredi e Clorinda, which is universally renowned as a masterpiece of Italian Baroque music, celebrates its 400th anniversary in 2024. It has become the foundation for an innovative multidisciplinary project where music, singing, theater, and dance converge in a harmonious blend 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.

TORINODANZA FESTIVAL
FONDERIE LIMONE – SALA PICCOLA | RING – MITO SettembreMusica
20 – 21 September 2024 – 7:30 PM and 10:15 PM
Duration of each performance: 20 minutes
Preview of the theatrical version

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

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

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

From 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

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

Armoniosa Unità

Fonderia Reggio Emilia
25 September H 21.00

Armoniosa Unità is the new evening by MM Contemporary Dance Company directed by Michele Merola, consisting of three choreographies: Do Not Call Me a Dancer, choreographed by Giorgia Lolli and dedicated to Isadora Duncan, winner of the Siae Per Chi Crea 2023 award; ComeTe, a female duet by Adriano Bolognino, winner of the 2022 Danza&Danza Emerging Choreographer award; and finally Armoniosa Unità, a creation by Michele Merola and Enrico Morelli, conceived this year to celebrate the birth of Guglielmo Marconi.

 

WORLD PREMIERE

Choreography: Giorgia Lolli
Sound design: Sebastian Kurtén
Costumes: Nuvia Valestri
Lighting design: Elena Vastano
Performers: Erica Barusco, Carlotta Maucioni, Viviana Sanfilippo, Diletta Torelli
Duration: 20 min.

Choreography winner of the Siae Per Chi Crea 2023 award

Supported by the Ministry of Culture, SIAE under the ‘Per Chi Crea’ project / Emilia-Romagna Region / Municipality of Reggio Emilia / Centro Permanente Danza – Reggio Emilia

Isadora Duncan (San Francisco, 1877 – Nice, 1927) is remembered for her light dances, tunics, bare feet, and that iconic scarf that got caught in the wheel of a car, costing her life. Do not call me a dancer is a dedication to one of the women who made the history of modern dance.


GIORGIA LOLLI (Reggio Emilia, 1996) is a dancer and creator, currently pursuing her Master’s studies in Choreography at the Theater Academy of Helsinki. Her practice intertwines dramaturgical-choreographic research and community processes. After completing her Bachelor’s in Contemporary Dance at the Zürich University of the Arts, she continued her training in Israel. Since 2019, she has been active as a freelance dancer, collaborating with E.sperimenti Dance Company, Skopje Dance Theater, Elio Gervasi, Yotam Peled, Monster Chetwynd (Art Basel 2021), Bianca Hisse, and Laura Cemin (Aerowaves 2023). Since 2022, she has been a Dance Well – Movement research for Parkinson’s teacher within the European project coordinated by Operaestate. Her choreographic projects span various platforms, including Anghiari Dance Hub and Vetrina della Giovane Danza d’Autore, Nuovo Forno del Pane (MAMbo – Museo di Arte Moderna di Bologna), and residency actions Boarding Pass in Tunis, Buenos Aires, Kaunas, and Krakow. She presents at festivals in Germany, Portugal, Finland, and Switzerland. Together with Sophie Claire Annen and Sebastian Kurtén, she won DNAppunticoreografici 2023 with Eat me.

WORLD PREMIERE

Choreography: Giorgia Lolli
Sound design: Sebastian Kurtén
Costumes: Nuvia Valestri
Lighting design: Elena Vastano
Performers: Erica Barusco, Carlotta Maucioni, Viviana Sanfilippo, Diletta Torelli
Duration: 20 min.

Choreography winner of the Siae Per Chi Crea 2023 award

Supported by the Ministry of Culture, SIAE under the ‘Per Chi Crea’ project / Emilia-Romagna Region / Municipality of Reggio Emilia / Centro Permanente Danza – Reggio Emilia

Isadora Duncan (San Francisco, 1877 – Nice, 1927) is remembered for her light dances, tunics, bare feet, and that iconic scarf that got caught in the wheel of a car, costing her life. Do not call me a dancer is a dedication to one of the women who made the history of modern dance.


GIORGIA LOLLI (Reggio Emilia, 1996) is a dancer and creator, currently pursuing her Master’s studies in Choreography at the Theater Academy of Helsinki. Her practice intertwines dramaturgical-choreographic research and community processes. After completing her Bachelor’s in Contemporary Dance at the Zürich University of the Arts, she continued her training in Israel. Since 2019, she has been active as a freelance dancer, collaborating with E.sperimenti Dance Company, Skopje Dance Theater, Elio Gervasi, Yotam Peled, Monster Chetwynd (Art Basel 2021), Bianca Hisse, and Laura Cemin (Aerowaves 2023). Since 2022, she has been a Dance Well – Movement research for Parkinson’s teacher within the European project coordinated by Operaestate. Her choreographic projects span various platforms, including Anghiari Dance Hub and Vetrina della Giovane Danza d’Autore, Nuovo Forno del Pane (MAMbo – Museo di Arte Moderna di Bologna), and residency actions Boarding Pass in Tunis, Buenos Aires, Kaunas, and Krakow. She presents at festivals in Germany, Portugal, Finland, and Switzerland. Together with Sophie Claire Annen and Sebastian Kurtén, she won DNAppunticoreografici 2023 with Eat me.


Choreography: Adriano Bolognino
Music: Giuseppe Villarosa
Assistant Choreographer: Rosaria Di Maro
Performers: Laura Dell’Agnese and Giorgia Raffetto
Duration: 11 min.

“Like comets, there are beings who traverse existence without seeking order or a fixed reference point. Others, like planets, revolve around a center and feel they must not stray from that source of warmth and light. They too experience highs and lows, but they persevere on the right path.” – Omraam Mikhaël Aïvanhov


ADRIANO BOLOGNINO was born in Naples in 1995. He won the 2022 Danza&Danza award as Emerging Choreographer. For the 2023/24 season, he has been commissioned to create new works for the Teatro dell’Opera di Roma and the national Maltese company ZfinMalta. He created the choreography “Come Neve” selected for Danza Urbana XL 2023; he choreographed for the stars Eleonora Abbagnato and Jacopo Tissi during MFW23. In 2022, he created “White Room” for the Opus Ballet Company. He was selected for “Prove d’autore – Anticorpi XL” and created “SKRIK” for the MM Contemporary Dance Company. His work “Rua da Saudade”, selected for the NID Platform 2021 and CallforCreation/Orsolina28, debuted at the TorinoDanza Festival. He was selected by ADH19, where he created “Gli Amanti”, a piece selected for Aerowaves 21. In 2020, the Venice Biennale commissioned him to create a new work for the festival. He won the Prospettiva Danza Padova award in 2019. His creations are performed in national and international contexts, including Cross Festival, Kilowatt Festival, Interplay Festival, BMotion Opera Estate, Fabbrica Europa, Gender Bender Festival, DAP Festival, Danza Estate Bergamo, Festival Exister, Moving Colors Festival, Ammutinamenti Festival, Artissima Festival, Festival Aperto, and more.

Choreography: Michele Merola and Enrico Morelli
Music: Pierre Jodlowski, Anne Muller
Performers: Lorenzo Fiorito, Mario Genovese, Nicola Stasi, Giuseppe Villarosa
Duration: 20 min.

Armoniosa Unità is a choreography by Michele Merola and Enrico Morelli, created this year for the celebration of Guglielmo Marconi’s birth. The work explores the meaning of the near and the far, inspired by electromagnetic waves. It is about reaching out to a distant person and bringing them onto our path to share a common journey. This approach creates a union of intentions and a journey towards cohesion that, even in diversity, leads to a vision of the common good. The choreography is accompanied by a musical score by Pierre Jodlowski with the Orchestre Philharmonique de Radio France, which incorporates a series of messages and announcements from radio broadcasts into a contemporary music composition. This sonic backdrop takes us into the world of radio, which even today, as in the previous century, serves as a medium for spreading news and, above all, for conveying cultures and messages of great importance.


MICHELE MEROLA is the artistic director and main choreographer of the MM Contemporary Dance Company, a contemporary dance company founded in 1999 in Reggio Emilia, which won the prestigious Danza & Danza Award in 2010 as the best emerging company. With this company, Merola has brought many of his choreographies to the stage, both in Italy and abroad, including La metà dell’ombra, which won the Anita Bucchi Award in 2010, and Bolero, which won the Europaindanza 2017 Award for Choreographic Merit. Since 2000, he has created numerous works for other companies, including Aterballetto, Teatro San Carlo in Naples, Dominic Walsh Dance Theatre, Teatro Massimo in Palermo, Junior Balletto di Toscana, National Theatre of Belgrade, and Tanzcompagnie Landesbühnen Sachsen in Dresden. In 2003, he won the International Choreography Competition in Hannover, in 2008 he received the Positano Leonide Massine Award for the Art of Dance, and in 2016 he won the GD Awards 2016 (www.giornaledelladanza.com) as the Best Italian Choreographer. In 2017, he won the L’Abella Danza Award (in memory of Ricardo Nunez) at the Roman Amphitheater of Avella (AV). In 2018, he received the “Incontro con la danza” award instituted by Basilicata ArteDanza. Since 2010, Merola has been, along with Enrico Morelli, the artistic director of Agora Coaching Project, a professional training program for dancers based in Reggio Emilia.


ENRICO MORELLI, a dancer and choreographer, began his dance studies in Barletta. In 1999, he graduated from the National Academy of Dance, where he later attended the advanced course for teachers. His creative talent led him to participate in major choreography competitions, winning first place at the Michele Abbate Competition in Caltanissetta, the Città di Perugia Competition, the Rieti International Dance Festival, and the Danza Estate in Florence. From 1997 to 2003, he worked as a dancer with the N. Piccinni Concert Foundation, Milena Zullo’s Arte Balletto company, the Piccinni Ballet, and Micha Van Hoeke. In 2001, he received the silver medal from the President of the Republic as a dancer. Since 2004, he has been part of the MM Contemporary Dance Company as a dancer and choreographer. Since 2003, he has created choreographies for Astra Roma Ballet, the school of Teatro dell’Opera di Roma, Dominic Walsh Dance Theatre, Maggio Musicale Fiorentino, KAOS company in Florence, Palermo InDanza, the Hungarian Szegedi Kortàrs Ballet, Milwaukee Ballet (USA), MM Contemporary Dance Company, and Agora Coaching Project. In 2018, Morelli won the “Incontro con la danza” award instituted by Basilicata ArteDanza. In 2010, he founded and has since co-directed, with Michele Merola, Agora Coaching Project, a professional training program for dancers based in Reggio Emilia.

The MM Contemporary Dance Company is a contemporary dance company directed by choreographer Michele Merola, founded in 1999 as a center for the production of events and performances and as a promoter of festivals and workshops with the aim of fostering exchanges and alliances between Italian and international artists, witnesses and spokespeople of contemporary culture.

The company’s repertoire, based in Reggio Emilia, is rich and varied, thanks to the works of Michele Merola and creations by European and Italian choreographers such as Maguy Marin, Mats Ek, Mauro Bigonzetti, Thomas Noone, Gustavo Ramirez Sansano, Karl Alfred Schreiner, Eugenio Scigliano, Emanuele Soavi, Enrico Morelli, Daniele Ninarello, Ginevra Panzetti and Enrico Ticconi, Camilla Monga, Roberto Tedesco. In 2010, the MM Contemporary Dance Company won the prestigious Danza & Danza Award as the best emerging company and today, it is, in all respects, a reality of excellence in Italian dance, with a consolidated performance activity throughout the national territory. For several years it has conquered an international market with performances in European and non-European countries (Korea, Colombia, Canada, Germany, Russia, Morocco, Belgium, Spain, Slovenia, Hungary, Czech Republic, Sweden, France, Finland, Serbia…). In 2017, the MM Contemporary Dance Company won the Europaindanza 2017 Award – Award for Choreographic Merit, for the show Bolero by Michele Merola. Since 2018, the MM Contemporary Dance Company has been an associate company of the InDanza Circuit of Trentino Alto Adige.

The MMCDC is supported by the Ministry of Culture, the Emilia-Romagna Region, the Municipality of Reggio Emilia, the National Dance Foundation/Aterballetto, the Permanent Dance Center/Reggio Emilia.

Learn more

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

Tickets are not numbered.

CONTACTS FOR RESERVATIONS

Phone and WhatsApp: 3341023554

Email: biglietteria@aterballetto.it

VISIONI DEL CORPO: IL CORPO PICCOLO

Fonderia Reggio Emilia
27 September H 20.30

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.

Third appointment: Friday 27 September h 20.30 at Fonderia

Il corpo piccolo (The little body)

A dialogue with Nicolas Ballario and Lara Guidetti
Choreographies by Lara Guidetti
Focus on Alberto Burri, Maurizio Cattelan, Diane Arbus, Jake e Dinos Chapman, Keith Haring, Nathalie Djurberg

After Il corpo in pericolo and Il corpo nudo, the third event will explore Il corpo piccolo with Lara Guidetti. The public space has undergone a transformation between its physical and virtual dimensions, leading to new identities, functions, and connotations, rapidly rewriting the network of encounters and relationships that inhabit it, cutting across professional and personal, intimate, and collective domains. In the era of images and digital technology, the real dimension of the body, understood in its original proportion in space, is continually modified: contracted within phone screens, expanded in architectural and advertising projections, multiplied, stretched, portioned, and filtered in search of perfect adherence to what one desires the body to communicate. Lara Guidetti will play with these dilations and contractions.

Before and after the meeting, the audience will have the opportunity to experience virtual reality with Kepler by Diego Tortelli: three micro-dancers moving under a display case, inhabitants of a small world that the viewer approaches with a magnifying glass.

Performance art: Banana duct taped to fridge as a reminder to eat less meat, inspired by Maurizio Cattelan. From Wikimedia Commons

Originally from Emilia-Romagna, Lara Guidetti graduated as a dancer and choreographer in 2006 from the Atelier of Theater-Dance at the Paolo Grassi School in Milan, studying with renowned national and international masters. She continued her training in the world of dance and performing arts, exploring various pedagogical methods and training through workshops and productions. In 2008, she founded the Sanpapié company, where she serves as artistic director, choreographer, director, and performer, presenting works across Italy, Europe, China, and Saudi Arabia. In 2017, her show LEI won the Premio Bonacina. She collaborates with the JGM company in Lisbon, works with La Scala in Milan as a dancer and acrobat, and creates choreographies for opera productions. She has taught at the Paolo Grassi and Dancehaus schools in Milan and at the Teatro Stabile school in Turin. Since 2022, she has been an associated artist of the MilanOltre festival and a collaborator of the Fondazione Nazionale della Danza as a choreographer and curator of site-specific projects.

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.

APERITIVO IN FONDERIA
From 7:00 PM

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

 

OPEN REHEARSAL – GLORY HALL

Fonderia Reggio Emilia
1 October H 18.00

First open rehearsal of the 2024/25 season with CCN/Aterballetto

Tuesday, October 1st, at 6:00 PM, the audience at the Fonderia will have the opportunity to meet the three new dancers of the company and witness the preparation of Glory Hall, the new creation by Diego Tortelli that will premiere in February at the Teatro Comunale di Bologna.
Open rehearsals are unique moments where you can watch the creation of a performance, 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 the dancers and choreographers.

Lullaby

Fonderia Reggio Emilia
5 October H 18.00

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

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

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 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

TICKETS
Single ticket: 6 euros

PURCHASE TICKETS

Tickets are not numbered.

CONTACTS FOR RESERVATIONS

Phone and WhatsApp: 3341023554

Email: biglietteria@aterballetto.it

Lullaby

Fonderia Reggio Emilia
6 October H 18.00

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

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

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 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

TICKETS
Single ticket: 6 euros

PURCHASE TICKETS

Tickets are not numbered.

CONTACTS FOR RESERVATIONS

Phone and WhatsApp: 3341023554

Email: biglietteria@aterballetto.it

PAST SEASONS

People – Open Rehearsal

6 October 2022 H 18:00 - 19:00

People

6 October 2022 H 20:30 - 21:30

FOUR SEASONS in Different Seasons

13 October 2022 H 20:30 - 22:00

ARA! ARA! – OPEN REHEARSAL

23 January 2022 H 18:00 - 19:00

ARA! ARA!

23 January 2022 H 20:30 - 21:30

NUBIVAGO – Open Rehearsal

9 February 2022 H 18:00 - 19:00

NUBIVAGO

9 February 2022 H 20:30 - 22:00

Dante Solo Inferno – Open Rehearsal

11 September 2021 H 18:00 - 19:00

Dante Solo Inferno

12 September 2021 H 20:30 - 21:30

XL Dance Company

28 March 2021 H 21:00 - 22:00

Made in Italy 24.0 – open rehearsal

19 June 2021 H 19:00 - 20:30

Made in Italy 24.0

20 June 2021 H 21:30 - 23:00

OMBRE (excerpts) – OPEN REHEARSAL

22 June 2021 H 16:00 - 17:00

SHORTCUT

20 January 2020 H 20:30 - 22:00

BLISS – OPEN REHEARSAL

23 January 2020 H 18:00 - 19:00

Repeat / Harleking

5 February 2020 H 20:30 - 21:45

Open Rehearsal

12 February 2020 H 18:00 - 19:00