Teatro Alighieri |
Disponibile fino al 31 dicembre 2022
Bio-Economy Days
organised by Cluster Spring, Assobiotec, Federchimica, Fondazione Raul Gardini, Fondazione Resoil, Apre, Fva, Novamont in collaboration with Ravenna Festival with the support of Fondazione Impact, Transition2bio, Molino Spadoni and the patronage of the Comune di Ravenna
The national Bio-Economy Day returns to Ravenna, and doubles in length to explore the issues underpinning ecological transition and the fight to climate change. Intended as the economy that uses renewable biological sources as raw materials for industrial, energy, food and feed production, in 2020 the Italian bio-economy was worth 317 billion euros, and employed around 2 million people. The issues of this meta-sector, which proved to be resilient during the pandemic, and which forms the basis for the European Green New Deal, will be discussed by key stakeholders from the world of industry, agriculture and finance. This will also be an opportunity to discuss sustainable development, the UN 2030 Agenda and green jobs, and to award the schools that took part in the Bio-economy4You competition.
Bio-Economy Days
Teatro Alighieri |
Available to 31 December 2022
Bio-Economy Days
organised by Cluster Spring, Assobiotec, Federchimica, Fondazione Raul Gardini, Fondazione Resoil, Apre, Fva, Novamont in collaboration with Ravenna Festival with the support of Fondazione Impact, Transition2bio, Molino Spadoni and the patronage of the Comune di Ravenna
The national Bio-Economy Day returns to Ravenna, and doubles in length to explore the issues underpinning ecological transition and the fight to climate change. Intended as the economy that uses renewable biological sources as raw materials for industrial, energy, food and feed production, in 2020 the Italian bio-economy was worth 317 billion euros, and employed around 2 million people. The issues of this meta-sector, which proved to be resilient during the pandemic, and which forms the basis for the European Green New Deal, will be discussed by key stakeholders from the world of industry, agriculture and finance. This will also be an opportunity to discuss sustainable development, the UN 2030 Agenda and green jobs, and to award the schools that took part in the Bio-economy4You competition.
Aldo Cazzullo Moni Ovadia
Il duce delinquente
Milano Marittima, Arena dello Stadio dei Pini |
Available to 31th December
Il Trebbo in musica 2.2
Il duce delinquente
by and with Aldo Cazzullo andMoni Ovadia cello, piano, and vocals Giovanna Famulari
organiser Corvino Produzioni
with the contribution of Cooperativa Bagnini Cervia
Alongside his fervent activity as a journalist, Aldo Cazzullo has grown increasingly fond of the theatre, where he narrates the essential facts and figures of Italian history bringing together his own curiosity and the talent of actors and musicians. In order to shed light on Benito Mussolini and Fascism, whose granite propaganda got consolidated through the Duce’s private and public crimes and betrayals, Cazzullo needs the “stinging” Moni Ovadia to lend his voice to both Mussolini and his victims. The eclectic Giovanna Famulari provides a soundtrack to this tale for two voices, with music and songs from the period. We will follow the events that led to WWII, and their profound impact on the history of our country.
Palazzo Mauro De André |
Available to 4 September 2022
Tribute to Franco Battiato
Messa Arcaica
per soli, coro e orchestra Kyrie, Gloria, Credo, Sanctus, Agnus Dei byFranco Battiato
soloists Juri Camisascavocals Cristina Baggiomezzo
Coro della Cattedrale di Siena “Guido Chigi Saracini” choirmaster Lorenzo Donati
Carlo Guaitoli piano conductorGuido Corti
Canzoni Mistiche byFranco Battiato voce Juri Camisasca, Alice, Simone Cristicchi conductor and pianist Carlo Guaitoli
soloists Juri Camisasca, Alice, Simone Cristicchi
keyboards and programming Angelo Privitera
Orchestra Bruno Maderna
original production by Ravenna Festival and Sagra Musicale Malatestiana
Franco Battiato premiered his Messa arcaicain the Basilica of St Francis of Assisi in 1993: what looked like a simple sacred composition, including the canonical Kyrie, Gloria, Credo, Sanctus and Agnus Dei, was in fact something very different in terms of compositional technique. After all, Battiato was a master of sound, and had explored the possibilities of acoustic instruments (among which the human voice) in generating different perception and creating a sense of suspension. «Most human beings do not realise they have a soul; they only listen to their bodies. But at night, and not while we sleep, we all leave our bodies to go on astral journeys», he often repeated. These journeys also concern his Canzoni mistiche, collected here by some of his collaborators as the evidence of an incessant spiritual quest for an unknown elsewhere.
Teatro Alighieri |
Available from 18th July to 17th August
Fanny & Alexander Addio Fantasmi based on Nadia Terranova‘s novel by the same name (Einaudi, 2018)
direction Luigi De Angelis dramaturgy and costume design Chiara Lagani on stage Anna Bonaiuto e Valentina Cervi
co-production Ravenna Festival, E Production / Fanny & Alexander, Infinito Produzioni, Progetto Goldstein, Argot Produzioni premiere
Ida arrives in Messina, where her mother has called her back to renovate the family flat. Surrounded by the usual objects of her former life, Ida must come to terms with the ancient trauma of her father’s disappearance, when he left one morning and never returned. His absence determined the silence with her mother, her own identity, based on an anomaly, and her relationship with her husband. But now that she is besieged in her childhood home, she must break the spell and finally get her father off the stage. The play builds on the obsession with the physical space of the dilapidated house, overlapped with the psychic space, and liberates the ghosts that haunt both mother and daughter. The aim is to exorcise their power, and circulate the crucial images that govern the most ancestral relationships.
Chiostro del Museo Nazionale |
17 July 2022 | at 9:30 PM
Arete String Quartet
Chae-Ann Jeon, Dong-Hwi Kim violins
Yoon-sun Jang viola
Seong-hyeon Park cello
Franz Joseph Haydn String quartet in B minor, Op. 33 No. 1 Hob. III: 37
Alban Berg Lyrische Suite for string quartet
Robert Schumann String quartet in F major, Op. 41 No. 2
in collaboration with Scuola di Musica di Fiesole ECMA – European Chamber Musica Academy
“A respectful homage to the genre of the string quartet”: how else could we define a programme that combines three landmarks in the repertoire dedicated to the most “noble” of chamber music ensembles, which also share an intensely poetic vein? Haydn’s “Russian” Quartet, which Mozart especially loved, the first in a series that the composer himself defined as «a new and entirely special kind, for I haven’t written any for ten years», will be followed by the work that established Schumann’s maturity in the difficult sphere of the string quartet, and then by the unmistakable twelve-tone lyricism of Alban Berg. All titles will be performed by the multi-award-winning Arete Quartet, born in September 2019 of the encounter of four young and talented Korean musicians, now associated with the prestigious Fiesole School of Music.
Miki Matsuse van Hoecke concept and direction choreographies by Micha van Hoecke re-staged by Miki Matsuse
with the participation of Luciana Savignano and Manuel Paruccini performers Rimi Cerloj, Viola Cecchini, Yoko Wakabayashi, Chiara Nicastro, Giorgia Massaro, Francesca De Lorenzi, Martina Cicognani, Marta Capaccioli, Gloria Dorliguzzo, Miki Matsuse.
in collaboration with Armunia and Comune di Rosignano Marittimo
Canto per un poeta innamorato (Song for a Poet in Love), a segment of the project Tre baci per Micha (Three Kisses for Micha), stages a homage to van Hoecke, the international artist and polyglot of the scene that passed away on 7 August last. The Russian-Belgian choreographer was deeply in love with Italy—and reciprocated. So much so that he made it another homeland, with Ravenna as his second home. Three kisses on the cheeks were his usual greeting, which are said to express a desire to be remembered. And so it will be in this fresco of the visions and places of his art, created by Micha’s loving work and life partner, Miki Matsuse, with the support of his many friends and collaborators. In it, fragments from his famous creations, like La dernière danseor Le Voyage, will be combined with performances in his eclectic style, veiled with melancholic poetry.
Palazzo Mauro De André |
Available from 15 October to 31 December 2022
Orchestra Giovanile Luigi Cherubini Riccardo Muticonductor
Georges Bizet Symphony in C major “Roma”
Anatoly Konstantinovich Lyadov The Enchanted Lake, symphonic poem Op. 62
Franz Liszt Les préludes, symphonic poem No. 3 from Alphonse de Lamartine S 97
«In my head I have a symphony, which I’d like to call Rome[…]. It’s an excellent plan: Venice will be my Andante, Rome my first movement, Florence my Scherzo, and Naples my Finale. It is a new idea, I believe». In 1860, on his way back from a three-year stay at the Villa Medici, Bizet was inebriated by the Italian art and landscapes, and this beauty ideally underpins his unusual score. Liszt, too, had experimented a similar narrative impetus in his symphonic poems, the most famous of which, Les préludes, he “justified” by ascribing its continuous thematic metamorphosis to Lamartine’s Méditations. The same momentum also permeates the evocative “fairy tale scene” written in 1908 by Russian composer Lyadov, a pupil of Rimsky-Korsakov and, in his turn, the teacher of Prokofiev. Three musical frescoes which Muti outlines in all their nuances and depth, in a tireless search for perfection.
Basilica di San Vitale |
Available from 5 July to 31 December 2022
Orlando Consort The Birth of the Renaissance
music by Johannes Ciconia, Guillaume Dufay, Johannes Ockeghem, Antoine Busnoys, Gilles Binchois,
Hayne van Ghizeghem, Robert Morton, Loyset Compère, Antoine Brumel, Francisco de Peñalosa,
Francisco de La Torre, Josquin Desprez
The onset of the Renaissance in music takes place in the different countries of the Old Continent between the XV and early XVI centuries. Such are the space-time coordinates for this selection of sacred and secular pieces in Latin and Romance languages, conceived for musical chapels in Italy, Spain, France and the Netherlands, and now re-proposed by the Orlando Consort. Since its 1988 début in the Early Music Network of Great Britain, the prestigious male vocal quartet has made a worldwide reputation for unparalleled quality and ductility, with forays in jazz as well as world music. Unquestionably among the most authoritative interpreters of medieval and Renaissance polyphony, the Orlando Consort will once again transform the most rigorous research on compositional techniques and notation systems into the most explosive expression of the “rebirth” and aesthetic renewal of music.
Palazzo Mauro De André |
Available to 29 July 2022
Budapest Festival Orchestra Iván Fischerconductor
Johannes Brahms Symphony No. 3 in F major, Op. 90
Nikolai Andreyevich Rimsky-Korsakov Scheherazade, symphonic suite Op. 35 from “One Thousand and One Nights”
Brahms was already 43 when he introduced himself to the world as a symphonist. He feared he could not bear the weight of Beethoven’s legacy. This was an excess of caution, judging by the extraordinary results of his first two symphonies, and by the further masterpiece of the Third, which sums up the most diverse expressive needs in a continuum of heroism, tragedy, pathos, and nostalgia, to die away in a reconciling pianissimo. The film industry is heavily indebted to this symphony, widely adapted in works of popular culture. Similarly, Shahrazād, the most dazzling symphonic fresco of the Russian XIX century, also comes to a fantastic, lyrical and finally pacified conclusion after “visually” bringing to life the evocative and timeless East of the adventures narrated by Rimsky-Korsakov, which the great Hungarian conductor now entrusts to the talent of “his” orchestra.