Name: Seoul Mafia
Start: 2027-01-27T20:30:00
Location: Colosseum Theater, Torino TO

Teatro Colosseo

Seoul Mafia

Michele Zarrillo returns to the Teatro Colosseo for the sixth time with the 1996-2026 tour, "L'elefante e la farfalla ," a theatrical live performance celebrating the thirtieth anniversary of the Sanremo classic, an emotional journey through timeless classics and recent gems. Written with Vincenzo Incenzo and released in 1996, " L'elefante e la farfalla" is a song that unites generations, and in this concert, Zarrillo, a virtuoso multi-instrumentalist (vocals, piano, guitars), retraces a unique career with two hours of rich repertoire, accompanied by elite musicians.

Michele Zarrillo

Colosseum Theater, Torino TO

The Teatro Colosseo welcomes Vinicio Capossela with his new ballad opera for voices and music, freely drawn from the life of Renato Striglia, Capossela's longtime friend, manager, and inspiration, and from the works of Dylan Thomas. At the center is a man lying in an empty bathtub, simultaneously Striglia, Captain Cat, and the Welsh poet himself, surrounded by the ghosts of a seaside village. Fifteen previously unreleased songs, written by Capossela, give voice to characters, obsessions, and memories that surface like radio waves, in a show that captures the blindness of radio and transforms it into a theatrical experience: long moments of darkness in the theater, voices emerging from the darkness, sounds that guide the imagination more than images. On stage with Capossela is Pierpaolo Capovilla: their shared presence also makes this work a tale of old-fashioned male friendship, steeped in rock 'n' roll, an epic of failure, and the spirit of mutiny.

Vinicio Capossela

An epic and satirical portrait of Bertolt Brecht, the great German playwright who revolutionized theater in the twentieth century, inventing epic theater and combining political engagement, irony, and music. His works, from The Threepenny Opera to Mother Courage , transformed the stage into a place of critical thought rather than pure identification, and this show embraces his legacy with a contemporary language: live music, dark humor, and a constant interaction with the audience. Veronica Pivetti, Manuela Mandracchia, and Lucia Vasini, three performers with diverse backgrounds in theater, film, and television, bring their comic and dramatic experience to Brecht's service, seamlessly transitioning from monologue to song, from social narrative to cabaret act.

Veronica Pivetti - Manuela Mandracchia - Lucia Vasini

While conquering the Ariston stage with Magica Favola, Arisa announces her autumn Live Tour—and the Italian tour kicks off right at the Teatro Colosseo.

Arisa

Water isn't just a backdrop, it's the protagonist. In Bestiario idrico (Water Bestiary) , Marco Paolini creates a vast fresco of the river landscape: banks, dams, canals, and riverbeds that over the years we have built, diverted, and exploited, forever transforming the land we inhabit. Through storytelling, science, and memory, Paolini gives voice to a "bestiary" of real and symbolic creatures: the animals that inhabit the riverbanks, the communities that depend on water, the technicians and administrators called upon to decide when there is too much or too little water. The book discusses floods and droughts, climate change, planning errors, and conflicts between those who use water to produce energy, those for irrigation, and those for safe living.

Marco Paolini

After millions of online views and international stages, Swiss cellist Jodok Vuille arrives live in Italy for the first time at the Teatro Colosseo. Among the most followed names in crossover music, he blends classical technique and pop sensibility in performances of high emotional and visual impact. With over 15 million followers and collaborations with artists and brands such as Alan Walker, Matteo Bocelli, IL VOLO, Lindsey Stirling, FC Barcelona, ​​Mercedes-Benz, and the Swatch Group, he has redefined the imagery associated with the cello, placing it at the center of a contemporary and recognizable narrative.

Jodokcello

Max Gazzè arrives at the Teatro Colosseo with a formula that's a manifesto: not one date, not two, but three consecutive nights of residency. This format overturns the logic of the traditional tour, where the same concert is repeated from one city to the next, transforming each stop into a layered narrative, capable of growing and changing night after night. The very word "residency" captures the project's deepest meaning: not a repeat, but a permanence. Inhabiting a stage for three nights means leaving room for variation, improvisation, and the unexpected.

Max Gazzè

Brother Sun, Sister Moon is a new theatrical project dedicated to the extraordinary human and spiritual story of Saint Francis of Assisi , created on the occasion of the eight hundredth anniversary of his death.

Inspired by Franco Zeffirelli's celebrated 1972 film, which achieved enormous international success (winning a David di Donatello Award in 1972 and an Oscar nomination in 1974 for Best Art Direction), leaving an indelible mark with the poetic power of its images and the unforgettable music composed at the time by Riz Ortolani, the show brings to the stage, using contemporary theatrical language, the story of Francis and his universal message of brotherhood and peace.

Fratello Sole, Sorella Luna

Neri Marcorè returns with Gaber – Mi fa male il mondo (The World Hurts Me) , the latest chapter in a long artistic dialogue with the work of Giorgio Gaber and Sandro Luporini, written and directed by Giorgio Gallione. This isn't a nostalgic homage, but a necessary return to a still urgent theatrical language, one that uses song-theatre to explore the contradictions of the present without discounts or self-absolution. On stage, Marcorè enters the "workshop" of Gaber and Luporini, exploring recordings of their performances and the sources that informed their writing: from Pasolini to Calvino, from Céline to Adorno, and even Berlinguer, Brecht, and Beckett.

Neri Marcorè

A stage, a piano, a voice that tells the story of Ornella Vanoni as we've never heard her before.

In "Sentimental Diary of a Free Woman," Pacifico constructs an intimate and ironic portrait of a key figure in Italian music, following her missteps and leaps into the unknown, amidst success, fragility, professed loneliness, and a stubborn longing for companionship. The lyrics, born from their close encounters in recent years, from the songs they wrote together, and from the biography "Vincente o perdente," bring to life the most secretive Ornella: intelligent, unpredictable, anarchic and sly, combative and defenseless. Led by Gabriele Russo, with Elisa Parmigiani on vocals and Carlo Gaudiello on piano, words and music intertwine in a confidential tale that opens the doors to Ornella's "home," amidst memories to be cherished and memories to be exorcised.

Pacifico

Following the extraordinary success of the first three concerts, the Christmas concert returns to the Teatro Colosseo with the Ensemble Symphony Orchestra conducted by Giacomo Loprieno for a new, enthralling journey through the music of Maestro Ennio Morricone. Discovering Morricone – Volume 4 enriches this unique tribute with new, often lesser-known yet exquisite pieces from the vast repertoire of the composer who has left an indelible mark on the history of cinema and music. Not just a concert, but a narrative and musical journey through words, inspiration, and solo performances that guide the audience through decades of an extraordinary artistic legacy. Alongside melodies that have become part of the collective imagination, the program opens new perspectives on famous soundtracks and songs, presented in previously unreleased symphonic versions, capturing all the evocative power and elegance of Morricone's writing.

Alla Scoperta di Morricone - Volume 4

Colosseum Theater

Dignità Autonome di Prostituzione is one of those shows that divides life into a before and after. Created and directed by Luciano Melchionna, it is an immersive experience where the stage is at the center of the room, the music envelops the audience, and the actors move and occupy the theater, transforming it into a living organism that breathes along with the spectators.

At the entrance, you receive "dollars" with which to approach the actors, choose them, negotiate, and buy their stories. You move around, listen, and peek: every corner hides an encounter, a story, an explosive monologue, and the show is an emotional geography to be traversed, made of lights, music, sudden intimacies, and surprising truths to be shared.

When DAdP first arrived in Turin in 2014, the audience was overwhelmed: what seemed like a provocative show turned out to be a collective ritual in which people laugh, dance, get lost, and find themselves again in the encounter with an actor and his story.