Michela Gerosa

The Miser is the next title on the bill for the Prose Season of the Donizetti Theatre Foundation, scheduled in the main city theatre from Saturday, February 8 to Sunday, February 16: Molière's famous comedy will feature Ugo Dighero as Harpagon, an actor known for comic roles, already highly appreciated protagonist of works by Stefano Benni and Dario Fo, who is facing a great classic for the first time. Alongside him will be: Mariangeles Torres, Fabio Barone, Stefano Dilauro, Cristian Giammarini, Paolo Li Volsi, Elisabetta Mazzullo, Rebecca Redaelli and Luigi Saravo. The latter is also directing the play. On Thursday, February 13 at the "M. Tremaglia" Music Hall of the Donizetti Theatre (6 pm) there will be a meeting about the show with Ugo Dighero and the company. Maria Grazia Panigada, Artistic Director of the Prose Season and Other Paths, will coordinate. Free entry with reservation by registering at the Eventbrite link published on the Donizetti Theatre website. In Molière's comedy, we witness an epic clash between feelings and money. The protagonist is willing to sacrifice his children's happiness, just to avoid having to provide them with a dowry and instead acquire new wealth through their marriages. Saravo's direction sets the show in a dimension that refers to our daily life, juggling different temporal references, from smartphones to 1970s clothes to commercials that torment Harpagon (advertising is the devil that could tempt him to spend his beloved money). Even Paolo Silvestri's original music moves on different planes, while Letizia Russo's new translation, fresh and direct, helps give the whole a contemporary rhythm. "The narrative of Molière's The Miser revolves around a central theme, to which all others reconnect: money," writes Luigi Saravo in his director's notes, "Money and its conservation, its squandering, gambling, the purchase of goods and their degradation leading to the purchase of new goods, loans, interests and the power relationships that derive from money. In our consumption-oriented contemporary world, defined by the need to circulate money in pursuit of infinite economic growth, Harpagon's conservative and immobilist gesture, from a financial point of view, sounds subversive to us, in stark opposition to consumerist tyranny, to advertising which is its engine, and to that pathology of desire that sees substitution as its foundation. If we analyze the core of the text, namely the conflict between Harpagon and his entourage, we are faced with the conflict of two economic visions: a consumerist one of twentieth-century capitalist stamp and a relatively new, conservative one, which opposes consumption and is oriented towards the conservation of goods, their reuse, their exchange and, finally, their protection, first and foremost those goods defined as 'natural goods'. We don't mean to say that Harpagon is a positive hero, that he is moved by an ideological drive, but certainly that with his attitude he clearly stands in opposition to twentieth-century capitalist economics and more in line with the conservative vision." "Around him move the other characters, apparently victims of his tyranny, but, in reality, figures devoted to

On Saturday, February 8th at Teatro Donizetti (11 AM), the third event of the second edition of "History Lessons" is scheduled, an initiative conceived by Editori Laterza and co-produced with the Fondazione Teatro Donizetti with the support of Cassa Lombarda. This year's chosen theme is "Rebels": after Jesus and Cleopatra, it's now the turn of a quintessential rebel, Joan of Arc. Illustrating the figure of this "woman in arms" will be Maria Giuseppina Muzzarelli, essayist, scholar, and professor of Medieval History. Joan of Arc is a girl, but she fights like a man; she's a Christian virgin, but wears men's clothes; she feels in direct communication with God, but doesn't recognize the mediation of the Church. Venerated as a saint, she has become a myth, and not just for the French. Many questions remain open about this young woman in arms burned at the stake at 19 years old. Maria Giuseppina Muzzarelli deals with the history of mentality and society and has taught Medieval History, History of Cities, and History and Cultural Heritage of Fashion at the University of Bologna. Among her publications: Fishers of men. Preachers and squares at the end of the Middle Ages. (2005); An Italian at the Court of France. Christine de Pizan intellectual and woman (new edition 2017); Covered head. Stories of women and veils (new 2018 edition); The rules of luxury. Appearances and everyday life from the Middle Ages to the modern age. (2020). Per Laterza è autrice di In the hands of women. Feeding, healing, poisoning from the Middle Ages to the present. (2013), Mothers, missed mothers, almost mothers. Six medieval stories (2021) e La señora. Life and Adventures of Gracia Nasi (2024). Le “Lezioni di Storia” proseguiranno con Luigi Mascilli Migliorini, che proporrà una riflessione profonda su Robespierre, nel cuore della Rivoluzione Francese (15 febbraio), per concludersi con Loris Zanatta, che presenterà Fidel Castro e la sua rivoluzionaria “religione politica” (1° marzo). Tutti gli incontri saranno introdotti dal giornalista Max Pavan, responsabile dell’informazione di Bergamo TV. Biglietti 10 Euro, con riduzione per le scuole a 8 Euro. Al termine degli incontri, gli autori si fermeranno con il pubblico per il firmacopie presso il Ridotto Gavazzeni del Teatro.

Always attentive to new developments in the theatrical realm, the Altri Percorsi Season of the Fondazione Teatro Donizetti continues on Thursday, February 6 at the Teatro Sociale (8:30 PM) hosting for the first time Menoventi, a company with several accolades to its name, which on this occasion presents Odradek, a performance that takes us into the home of a woman caught in a spiral of online orders and desires fulfilled even before they are requested. Dramaturgy, direction, and lighting by Gianni Farina. Performers: Consuelo Battiston and Francesco Pennacchia. Music and sound design by Andrea Gianessi. Set design by Andrea Montesi and Gianni Farina with consultation from Enrico Isola and Daniele Torcellini. Costumes by Consuelo Battiston and Elisa Alberghi. Voices: Tamara Balducci, Leonardo Bianconi, Maria Donnoli, Chiara Lagani. Production by Menoventi/E Production, Ravenna Festival, Accademia Perduta/Romagna Teatri, OperaEstate Festival Veneto/CSC in collaboration with Masque Teatro. Duration 1 hour and 10 minutes without intermission. Born from an idea by Consuelo Battiston and Gianni Farina, founders of Menoventi, Odradek is a contemporary fable inspired by the warnings of Gunther Anders and the whims of Franz Kafka. In M's home, an ordinary woman holed up in her domestic comfort zone, every desire is fulfilled even before it's conceived. In this land of plenty, the spiral of conformism has eliminated every whim, thus marketing predictions are infallible. The unwitting messenger of this enchanted world is Q, an express courier for the most important delivery company in the sector, the omnipresent Odradek. From the relationship between the two, unusual questions arise: where do objects come from? And news? Who speaks on the other end of the device? A malfunction in the electrical system will allow these mass hermits to glimpse a reflection of the invisible fabric of the world, triggering a clash between environment and ambition, a struggle between illusion and imagination. The unconscious innocence of today's life, or the inability to feel the weight of responsibility for one's actions, sometimes cracks and lets through the symptoms of a singular, unusual anguish; like a dark shadow, the feeling of meaninglessness of one's existence creeps into M's mind. “The enchantment that envelops and homogenizes the protagonists of this fable seems to spread from the domestic appliances and objects, inert products that occasionally give the” impression of observing human activities and seem to judge their consumers. In the solitude and silence of the evening, the house seems to have a thousand eyes, and the goods come to life to dispense advice and warnings, strong with a superhuman wisdom uncontaminated by unproductive impulses or superfluous emotions. Menoventi was founded in 2005 and established itself in Faenza a few years later. The founders Consuelo Battiston and Gianni Farina collaborate with Italian and European artists to create works that intersect theater, music, radio, video, and visual arts. Without a predefined poetics, the group adopts languages and registers oriented by the peculiarities of the thematic core of each project, generating a heterogeneous collection of scenic objects. The only fixed point in

790 subscriptions, 22 more than last year: with this extraordinary figure, thanks to which a sold-out audience participation is expected, Bergamo Jazz 2025 now launches the ticket sales for individual evenings at Teatro Donizetti and for the concerts in the "Jazz in the City" section. Tickets are already available for the two events at Teatro Sociale on the evening of Thursday, March 20 (with singer Lizz Wright and pianist Antonio Faraò's trio) and on Sunday afternoon, March 23 (with the supergroup Stick Men led by the famous bassist Tony Levin). Jazz at Donizetti On Friday, March 21, the first of three subscription evenings at Teatro Donizetti, starting at 8:30 PM, will open with a duo formed by a double bass champion like Dave Holland and Lionel Loueke, one of the most innovative guitarists to appear on the jazz scene in recent decades. This high-caliber artistic duo will serve as the "opener" for the Wayne Shorter Legacy, namely pianist Danilo Pérez, double bassist John Patitucci, drummer Brian Blade, and, as a special guest, saxophonist Ravi Coltrane, musicians who certainly need no extensive introductions. The Saturday evening, March 22, will also feature an authentic all-star group, The Cookers, seven veterans of countless jazz battles: trumpeters Eddie Henderson and David Weiss, saxophonists Azar Lawrence and Donald Harrison, pianist George Cables, double bassist Cecil McBee and drummer Billy Hart. The Cookers' concert will be preceded by that of the most international of Italian jazz musicians, Enrico Rava. The trumpeter and flugelhorn player, former Artistic Director of Bergamo Jazz from 2012 to 2015, will lead his "Fearless Five", a formation that recently won the "Top Jazz 2024" award from the monthly magazine Musica Jazz. On Sunday, March 23, the last evening at the Donizetti will feature the first appearance on the main city theater stage of guitarist Marc Ribot and the return after ten years of one of the most charismatic female voices, Dianne Reeves. Jazz In The City Bergamo Jazz once again enters small theaters to offer precious musical performances, among the most artistically stimulating proposals of the Festival. Opening the series of concerts scattered throughout the city will be, on Thursday, March 20 at Teatro Sant'Andrea in Via Porta Dipinta (5:00 PM), Cuban pianist Aruán Ortiz, from whose fingers flows a musicality where Afro-Caribbean tradition meets the most advanced jazz. The same venue will host the concert on Sunday, March 23 (11:00 AM) featuring English double bassist Barry Guy, a historic exponent of the most daring improvised music, and Catalan pianist Jordina Millà: the two musicians have recently released the album Live In Munich on ECM. The Auditorium in Piazza della Libertà will also host two events, both marked by "mixed" groups, both in terms of gender and geographical origin, highlighting some prominent names from the new wave of British Jazz: La Via del Ferro (Friday, March 21, 5:00 PM) and pianist Alexander Hawkins' Dialect Quintet (Saturday, March 22, 5:00 PM). The first, highly appreciated by famous DJ and producer Gilles Peterson, is

Launched with great success – over 950 attendees – by Vito Mancuso, who offered an unprecedented portrait of Jesus, the second edition of “History Lessons”, an initiative conceived by Editori Laterza and produced in co-production with the Fondazione Teatro Donizetti and with the support of Cassa Lombarda, continues on Saturday, February 1st at Teatro Donizetti (11:00 am) with another historical figure, well aligned with the theme of “Rebels”, chosen this year for the series: Cleopatra. Cleopatra: the queen enemy of Rome is indeed the title of the lesson by Francesca Cenerini, professor of Roman History and Epigraphy and Roman Institutions at the University of Bologna. The history of Rome intersects not only with the life of the last queen of the Ptolemaic dynasty and the destinies of Egypt, but also with the histories of Palestine, Africa, and Asia. It marks the beginning of a season that will have a significant impact on the culture and tastes of the Romans. Francesca Cenerini has focused her studies in the field of Ancient History. Her research interests are particularly directed towards the representation of the female condition in Roman times, through the analysis of historiographic and epigraphic documentation. This research has produced two monographs and numerous articles published in journals and essays in volumes. She has collaborated on many initiatives aimed at the public communication of her research, collaborating with high-profile magazines and cultural initiatives. She is the author of The Roman Woman. Models and realities (Il Mulino, 2013) and Messalina. Legend and history of a dangerous woman (Laterza, 2024). The “History Lessons” will then continue with Maria Giuseppina Muzzarelli, who will recall the historical figure, charisma, and complex personality of Joan of Arc (February 8); with Luigi Mascilli Migliorini, who will offer a deep reflection on Robespierre, at the heart of the French Revolution (February 15); and finally with Loris Zanatta, who will present Fidel Castro and his revolutionary “political religion” (March 1). All meetings will be introduced by journalist Max Pavan, head of information at Bergamo TV. Tickets 10 Euros, with a reduction for schools to 8 Euros. At the end of the meetings, the authors will stay with the audience for a book signing at the Ridotto Gavazzeni of the Theater.    

Maestro Riccardo Frizza, internationally renowned conductor and former music director of Donizetti Opera since 2017, who was also appointed artistic director of the event last Dec. 4 by the Fondazione Teatro Donizetti Board of Directors, announces his vision for the festival for the three-year period 2025-2027. Under the sign of the word "evolution," Maestro Frizza intends to continue the path taken in recent years with an innovative vision that combines continuity and the future. If the event previously inaugurated its format by renewing its artistic programming and invading the city with the figure of Donizetti as an illustrious Bergamasque, it now aims for an evolution that brings the composer Gaetano Donizetti back to the center, the absolute protagonist, accompanied by a cultural project that aspires to consolidate the festival's position among major international events. Six fundamental guidelines will direct the event over the next three years, starting with internationality and high artistic quality, for a festival without borders. The Donizetti Opera, in fact, intends to strengthen and expand its international dimension, focusing even more on artistic quality and musicological research, to place itself among the great events of the world cultural scene. Productions of the highest level and an active dialogue with audiences beyond the borders will make the festival a point of reference for enthusiasts and experts in the field, but also for neophytes and the curious who will want to get closer to the corpus of the famous composer from Bergamo, attracted by the collateral events to the artistic programming. Second strategic goal is building bridges between cultures through twinning and co-productions. The festival aims to position itself as a meeting place between different cultures and traditions: with this in mind, co-productions become true twinnings involving the Theater and the city. They unite communities, weave stories, stimulate new readings and visions, and create an artistic and cultural contamination that breaks down barriers and diversity, for a deeply inclusive event. Third focal point make Bergamo the cradle of the Voice, thanks to renewed projects and new proposals that embrace different arts and disciplines. Starting with the Donizettian bel canto tradition, we celebrate the voice in all its forms as a contemporary symbol of excellence and creativity. Fourth objective, the construction of a Donizetti Network: the festival will go on to consolidate the concept, which has been gaining momentum in recent years, of "Bergamo City of Donizetti," aiming for further enhancement of the Foundation's Study Center and the construction of a network that will make Bergamo the epicenter of Donizetti's heritage to stimulate a worldwide dialogue. Then, on the education and training side, initiatives will see Donizetti Opera for Life Skills: the festival renews its commitment to the new generations, integrating Life Skills, as recognized by the World Health Organization as positive behaviors in the emotional, cognitive and relational areas, which enable the individual to cope effectively with daily challenges, both in personal and relational and social terms, into the training paths. Educational programs, designed for children and youth,

Zeno's Conscience is the second title of the Teatro Donizetti Foundation's Prose Season: Italo Svevo's masterpiece, one of the classics of 20th-century Italian literature, will be staged at the Teatro Donizetti from Saturday, January 25 to Sunday, February 2, starring Alessandro Haber, one of the prominent figures of Italian theater, under the authoritative direction of Paolo Valerio. Alongside the main protagonist, there will be 10 other actors: Alberto Fasoli, Valentina Violo, Stefano Scandaletti, Ester Galazzi, Emanuele Fortunati, Francesco Godina, Meredith Airò Farulla, Caterina Benevoli, Chiara Pellegrin, Giovanni Schiavo. Adaptation by Monica Codena and Paolo Valerio. Set and costumes by Marta Crisolini Malatesta. Lighting by Gigi Saccomandi. Music by Oragravity. Video by Alessandro Papa. Stage movements by Monica Codena. Produced by Teatro Stabile del Friuli Venezia Giulia and GoldenArt Production. Duration 1 hour and 45 minutes without intermission. Show times: evening 8:30 PM; Sunday, January 26 and Sunday, February 2 at 3:30 PM. A pioneering novel with a powerfully European breath, ironic and fascinatingly complex, Zeno's Conscience celebrated its centenary of publication in 2023: on that occasion, the Teatro Stabile del Friuli Venezia Giulia brought it to the stage as part of a rich research project dedicated to the extremely important cultural deposits of Trieste and its territory. The monumental figure of Italo Svevo and his extraordinary psychoanalytic novel represent a moment of profound, universal significance. Zeno's Conscience, on the other hand, also possesses its own lively theatricality, for the experimentation of innovative writing and for being dominated by the engaging, complex, and very current figure of Zeno Cosini. The novel, in fact, springs from the notes of the protagonist who undergoes treatment by the psychoanalyst Doctor S, trying to resolve his malaise, his neurosis, and inability to feel "in tune" with the world and reality. His perception of himself as inept and sick, and his obstinate – but never entirely convinced – attempts to change and heal, lead Zeno to go through life surprisingly intertwining bourgeois everyday life with surreal episodes rich in humor and truth. Zeno's Conscience has always been interpreted by great actors, such as Renzo Montagnani, Giulio Bosetti, Alberto Lionello, who was also the protagonist of the RAI TV series, and in the subsequent television edition, Johnny Dorelli. In the new production directed by Paolo Valerio, Zeno has the face of Alessandro Haber, an actor with powerful charisma and absolutely personal stage instinct, who, beyond any cliché, knows how to combine irony and depth in every interpretation. "As Giorgio Strehler writes, Zeno's Conscience is 'a stone in the heart of all Triestines' and for me, it's a truly particular challenge," writes Paolo Valerio in his director's notes, "I approached this work strongly favoring Svevo's narrative: I wanted to enclose in this theatrical experience some pages that I find extraordinary, unforgettable, building another Zeno alongside the narrating I. Therefore, Zeno – played by Alessandro Haber – tells his story and relives it through the body of another actor. Zeno reveals to us the stumbling, the humanity... And even

Viennese Dream is the particularly evocative title of the second show in the Operetta Season that Fondazione Teatro Donizetti presents on Sunday, January 19 at the main city theater (3:30 PM). Conceived by director Corrado Abbati, Viennese Dream will feature on stage Antonella De Gasperi, Fabrizio Macciantelli, Mariska Bordoni, Davide Zaccherini, Ilaria Monteverdi, Federico Bonghi, Claudio Ferretti, the Ballet of Parma with choreography by Francesco Frola and an orchestra conducted by Alberto Orlandi. Production by InScena srl. Duration 2 hours including interval. "A dream is, by definition, a sequence of images where it's often sweet to linger. Viennese Dream aims to be just that: a show that moves between historical reconstruction and pure entertainment, becoming not only a "divertissement", but also a moment to learn about the world of operetta," specifies Corrado Abbati himself, "A sequence of lavish scenes with a pressing rhythm serves as the common thread for the revival of famous titles and the discovery of less performed ones. Even Puccini wrote for Vienna, and perhaps not everyone knows that!" Viennese Dream is "an always smiling show, with signs of continuous cheerfulness at the corners of the mouth and in the eyes: 'allegretto sostenuto' as one would say in music! Thus, a 'revue' is born where the rhythm of narration and the harmony of melodic cues unite and merge into a sequence of cheerful and carefree episodes, arias and concertatos supported by the music of Strauss, Zeller, Von Suppè, Lehàr, Abraham, Puccini, performed live by an orchestral group and interpreted by the Company's soloists and choreographed for the Ballet of Parma. A show, therefore, of lightness and seduction where, dancing a whirling waltz, one might fall in love, because this is music that melts hearts and warms the soul," concludes the director.

On Saturday, January 18th, the first of five appointments with the "History Lessons" is scheduled at the Donizetti Theater (at 11:00 AM). This initiative is conceived by Editori Laterza and co-produced with the Fondazione Teatro Donizetti with the support of Cassa Lombarda. The new edition is dedicated to Rebels, focusing on the thoughts and actions of some great figures from the past, from Jesus to Cleopatra, from Joan of Arc to Robespierre and Fidel Castro, and aims to be an exhortation to cultivate the hope of an always possible change. The protagonist of the inaugural meeting, titled Jesus: The Breaking of the Law, will be the theologian Vito Mancuso who will articulate his speech by posing some questions, whose answers do not always automatically correspond to certainties: Did Jesus explicitly intend to break with the Law? Yes and no. Yes, because he was executed for his harsh contestation of religious tradition and his announcement of the kingdom of God in radical opposition to the powers of this world. No, because his rebellion was the result of a deeper obedience. To what? To whom, to what? Vito Mancuso has taught Modern and Contemporary Theology at the San Raffaele University in Milan and was a professor of History of Theological Doctrines at the University of Padua. He currently teaches at the Meditation and Neuroscience master's program at the University of Udine. Since 2022, he has been an editorialist for the newspaper "La Stampa". Among his most successful books, translated into other languages, are: L'anima e il suo destino (Raffaello Cortina, 2007), God and I. A guide of the perplexed (Garzanti, 2011), The passion principle. The force that drives us to love (Garzanti 2013), God and His Destiny (Garzanti 2015). His latest publications are The Mind in Love (2022), Ethics for Difficult Days (2022) , Never miss the joy. Short itinerary of liberation (2023) and Destination Hope (2024), all for Garzanti. The "History Lessons" will continue with Francesca Cenerini, who will talk about the figure of Cleopatra and the influence that Egyptian culture had on Roman taste (February 1st); with Maria Giuseppina Muzzarelli, who will evoke the historical figure, charisma, and complex personality of Joan of Arc (February 8th); with Luigi Mascilli Migliorini, who will offer a profound reflection on Robespierre, at the heart of the French Revolution (February 15th). And finally with Loris Zanatta, who will present Fidel Castro and his revolutionary "political religion" (March 1st). All the meetings will be introduced by the journalist Max Pavan, head of information at Bergamo TV. Tickets are 10 Euros, with a reduction for schools to 8 Euros. At the end of the meetings, the authors will stay with the audience for book signings at the Ridotto Gavazzeni of the Theater.  

Successfully inaugurated last December with King Lear died in Moscow by César Brie, the Altri Percorsi series of the Teatro Donizetti Foundation hosts on Thursday, January 16th at the Teatro Sociale (8:30 PM) In the Eye of the Labyrinth - Apology of Enzo Tortora, a show that evokes one of the most controversial and dramatic Italian judicial cases of the recent past. A monologue written and directed by Chicco Dossi and entrusted to the talented interpretative skills of Simone Tudda, nominated for the Hystrio alla Vocazione Award 2021, In the Eye of the Labyrinth - a Teatro della Cooperativa production, lasting 1 hour and 10 minutes without intermission - tells the story of Enzo Tortora, from the moment the well-known television presenter was arrested on the night of June 17, 1983, accused of Camorra association and drug trafficking. Difficult years followed, between prisons and courts, during which Tortora became the spokesperson for a strenuous battle for justice. A battle that ended with acquittal and a return to life. In the Eye of the Labyrinth was born almost by chance: "Near Corso Magenta, in Milan, right in front of the Teatro Litta, there's Largo Enzo Tortora. Almost more a commemoration than a street sign - I don't think it even has a street number - in small print, under the name, it bears the inscription 'journalist' and the dates of birth and death: 1928-1988. More out of curiosity than civic duty, one day, I decided to inform myself. I discovered that the 'Tortora case' was well known to my mother's generation and completely unknown to mine," Chicco Dossi recounts about the genesis of his show. The story of Enzo Tortora has gone down in history as a typical case of miscarriage of justice, "perhaps even more striking because it was perpetrated against a person known to Italians, since his face dominated for an hour and a half a week on national networks. An episode that took on increasingly chilling contours as I delved deeper: no presumption of innocence, accusations made without any evidence, magistrates eager to arrest the 'big name' who don't read the trial documents, anti-mafia blitzes sold to the press even before they happen, all at the expense of a man totally unrelated to the facts and not associated in any way with Camorra circles. The Tortora case is incredible not only for the cruelty with which judges, press, and public opinion attacked an innocent person. Enzo's story is the story of a man who, from the height of his position as a public figure, decided to become the spokesperson for a battle that has no political color: that of fair justice." "The monologue interpreted by Simone Tudda unfolds in a continuous narration where the diegesis goes beyond narrative boundaries to flow into dialogue, rises in the historical account, where data are always told in an essential way to understand the events, alternates between the third person of an omniscient narrator who goes to spy on the inmates of