For over two centuries, the Teatro Donizetti has been more than a performance venue or a landmark in lower Bergamo: it is part of the city’s identity, a place shaped by shared history. A story waiting to be told—and to be experienced from within.

Ti presento il Donizetti

Gaetano Donizetti Theater

A century crossed by a different, necessary look, finally listening. Un siècle en rose is a journey through French music between the 19th and 20th centuries, built around the voices of some of the most significant European composers, who for a long time remained on the margins of the repertoire and today are increasingly recognised for their originality and expressive force.

Agnese Ferraro and Monica Cattarossi: UN SIÈCLE EN ROSE

Diva. Divine creature. Goddess of the firmament. That’s how Daria feels when she steps onto the stage. She lives for her audience. But on the brink of opening night, something breaks. Caprices, rivalries, petty intrigues - the queen is under siege. Will the audience she so adores be able to save her from ruin? Find out in this one-of-a-kind show, where spectators take center stage - freely inspired by Le convenienze ed inconvenienze teatrali by Gaetano Donizetti.

Guasta Diva Come distruggere un'opera

In Byzantium, the chorus announces the return of Belisario, who has triumphed over the Goths. In the meantime, the leader’s wife, Antonina, tells Eutropio about Alessi, the son she and Belisario had and who died as soon as he was born. The slave Proclo had revealed to her that it was Belisario who had ordered him to kill Alessi; but he, not having the heart to do so, had abandoned him on a deserted beach. Antonina is determined to take her revenge by ordering a plot against her husband. Justinian receives his general. Among the prisoners is the young Alamiro, who is set free by Belisario. But Alamiro wants to remain at the side of Belisario, to whom he feels bound by a mysterious bond. Belisario announces that he will keep the young man with him, as if he were his lost son. But in the meantime, Antonina’s revenge is being carried out. While Belisario’s daughter, Irene, embraces her father, Eutropio arrives and publicly accuses him of conspiracy, showing forged documents as proof. Belisario calls Antonina as a witness; she not only confirms the accusation but also forces him to make a more shameful confession: the murder of their son. Belisario tells of a dream, in which Alessi had appeared to him as predestined to ruin their homeland.

Belisario

To celebrate its 20th anniversary, the Mascoulisse Quartet presents a project entirely dedicated to Giuseppe Verdi, approached from a historical and profoundly musical perspective.

Mascoulisse Quartet: PROGETTO VERDIANO - VERDI 1901

These Seasons are “half” because they interweave famous jazz standards with Vivaldi's Four Seasons. The narrative thread follows the cycle of the seasons, understood not only as a natural phenomenon, but as a metaphor for love and the human condition. A journey that reflects the parable of life: every end already contains a new beginning.

Italian Philharmonic Orchestra: THE HALF SEASONS

Opéra comique in two acts by Jean-François-Alfred Bayard and Jules-Henry Vernoy de Saint-Georges Music by Gaetano Donizetti

La fille du régiment

A concert d’autore. On the programme are famous songs written by some of the great Italian composers, from Gino Paoli to Fabio Concato, from Bruno Martino to Pino Donaggio, and made famous over the years by great national and international performers such as Mina, Ornella Vanoni, Joao Gilberto Gil, and Elvis Presley.

Claudio Angeleri: FROM BE TO POPS

Fatoumata Diawara is among the most intense, powerful and visionary voices in today's African and international world music scene. Originally from Mali, she is a multifaceted artist, singer, musician, composer, actress and dancer: an overwhelming performer, she tells the story of Africa in its wounds and rebirths and transforms each concert into an intense and participatory collective experience. Her music crosses genres with rare naturalness: afrobeat, jazz, electro, pop and rock intertwine while remaining anchored in mandinka rhythms.

Fatoumata Diawara

Lazzaretto

In a programme dedicated to recorder concertos, the name of Antonio Vivaldi is an indispensable reference: the author of an impressive number of concertos, well beyond the famous Four Seasons, Vivaldi shaped a language that profoundly marked 18th-century Europe. Alongside him, composers such as Georg Philipp Telemann, Johann Friedrich Fasch and Giovanni Battista Sammartini were able to offer original and refined interpretations of the concerto form, in an extraordinary variety of styles and formal solutions. It is perhaps surprising that the recorder, often considered an instrument with a limited repertoire, should have been the vehicle for such a rich and international production, capable of reflecting different national identities and, at the same time, an authentically European spirit, even verging on the galant style. This programme thus highlights, together, the concerto as a musical form and the recorder as solo instrument, revealing its expressive breadth and vitality. At the heart of this project is also the theme of cultural exchange between Italy and the Netherlands: many of Vivaldi's works were published in Amsterdam at the beginning of the 18th century by the famous publisher Estienne Roger, spreading rapidly throughout Europe and profoundly influencing the musical taste of the time. More than three hundred years later, this ideal dialogue is renewed in the encounter between the flutist Teun Wisse and the Ensemble Locatelli, an artistic partnership born of a shared passion for this repertoire and matured through concerts in various European countries, culminating in a programme designed to celebrate Vivaldi and the immediate and communicative pleasure of a music that, then as now, thrives on energy, exchange and shared joy.

Locatelli Ensemble: FLAUTISSIMO

At the beginning of 1819, Gaetano Donizetti was a 22yearold composer who had just made his debut the previous year . He was linked to the wandering company of the impresario Paolo Zancla and was strongly bound to Bortolomeo Merelli, from Bergamo like him and at the time a librettist, before he became one of the most important and successful Italian impresarios of the nineteenth century. During the Carnival season of 1818-19, Zancla’s company was in Mantua to stage Clotilde by Coccia, which however had a disastrous outcome: the prima donna was thrown on stage not only cooked pears, but even an incendiary piece that luckily only burnt the edge of her costume instead of setting the entire theatre on fire. As a response, Zancla staged Ross ini’s L’italiana in Algeri and summoned to Mantua the young creative couple MerelliDonizetti, who pro duced Le nozze in villa, a typical opera buffa of the time, based on a comedy by Kotzebue translated into Italian as I provinciali. Little is known about the outcome of the opera; it was probably a fiasco, al though it was revived in Treviso in the spring of 1820 and then in Genoa two years later . The work also presents numerous textual problems, starting with the fact that there is no autograph copy, that the musical sources are dispersed and that the quintet of the second act, “Aura gentil, che mormori”, is com pletely missing . As part of the #Donizetti200 pro ject, the Festival will present the first modern perfor mance of this title, which has remained, until today, quite “mysterious” (very few sources speak about it). The quintet is no longer missing, because it was newly by Elio and Rocco Tanica with the collabora tion of Enrico Melozzi. The production is inspired by philological criteria for the musical part, with the use of the tuning fork of the time and “historically informed” instrumentalists, and by references to current events for the scenic part. The aim is to retrieve the satiric and funny work that Donizetti tried to offer to the difficult Mantuan audience, always remaining in the wake of the most illustrious com poser of his time, Rossini, who is the obvious model for the Nozze in Villa. This is a further step in the re discovery of Donizetti’s works, as we are aware that the more Donizetti is known the bettr.

Le nozze in villa

An apparently casual encounter: on the one hand, a text, written notes, at first sight defined, which are nevertheless deliberately left unfinished, lacking a conclusive seal; on the other hand, curiosity and play, as if someone, picking up the lost sheets of paper, were in tune with the writing and tried to complete it, adapting their imagination to what they found to lead to results that are each time unpredictable.

Gianluigi Trovesi and the Gruppo Fiati Musica Aperta GIOCANDO CON LE NOTE

Seasons pass, new talents emerge, yet she remains firmly on the throne: the queen of jazz singing is still, unmistakably, Dee Dee Bridgewater. And a great diva never does anything by chance: her current touring band is an all-female, international lineup, assembled to launch a rallying cry—“We Exist!”. The project brings together protest songs such as Nina Simone’s “Mississippi Goddam,” Gene McDaniels’ “Compared to What,” James Brown’s “I Got You (I Feel Good),” Bob Dylan’s “Gotta Serve Somebody,” and others that are far more than melodies with socially conscious lyrics—they are true musical manifestos, carriers of powerful messages that speak to everyone. Art and activism thus take shape in the multifaceted, refined, and powerful voice of a legend not only of jazz.

DEE DEE BRIDGEWATER We Exist!

After the immersion in the folklore of the Latin countries, the Festival dedicates its 63rd edition to the repertoires and composers of Eastern and Slavic Europe. Alongside the immortal names of Tchaikovsky, Rachmaninov, Prokof’ev, &Scaron’ostakovič and Scriabin, the audience will also encounter the voices of Bartók, Dvořák, Janáček and Arvo Pärt in a journey that combines tradition and contemporaneity, as the subtitle expresses.

International Piano Festival of Brescia and Bergamo

Scotland, seventeenth century. Henri Ashton explains to his confidant Gilbert that, for political reasons, he has decided to marry his sister Lucie to Arthur Bucklaw, the powerful Lord Athold’s nephew. However, Lucie is in love with Edgar Ravenswood, the last member of the Ashtons’ rival family. Gilbert informs Henri of a secret rendezvous between Lucie and Edgar. Then comes Arthur, and he is reassured by Henri about Lucie’s love for him. In any case, Arthur says, his uncle has ordered Edgar to go to France on a diplomatic mission. Pretending to be her friend, Gilbert accompanies Lucie to the place where she is to meet Edgar. While she waits for him, Lucie laments that the old hatred between the two families makes their love impossible. Edgar arrives bearing the sad news that is about to leave. But, before that, he asks Henri for his sister’s hand. The two lovers exchange rings and bid farewell.

Lucie de Lammermoor

Virtuosity, pathos and theatricality come together in “Anime in lotta”, a recital for countertenor dedicated to the most intense and passionate arias by Georg Friedrich Händel and Antonio Vivaldi, two giants of European Baroque theatre. The protagonist of this musical journey is Nicolò Balducci, a young Italian countertenor of extraordinary sensitivity and stage presence, already appreciated for his refined timbre and communicative power.

Struggling souls

The string quartet can be considered the principal formation of chamber music, ever since the writing for four solo strings became the real test on which the leading composers measured themselves in the second half of the 18th century.

Mendelssohn, Haydn, Mozart: String Quartets

London, «in the fall of the 16th century». Elizabetta I feels neglected by Roberto Devereux, Earl of Essex, with whom she is madly in love. Two of the Queen’s advisors, Lord Cecil and Raleigh, Essex’s enemies, ask her to charge him with treason for his lenient behaviour in the war against Spain. Elisabetta receives Roberto, who is detached and reserved. The Duke of Nottingham is also disturbed by the sadness of his wife Sara whom he has spotted embroidering a blue scarf: he therefore confides in Essex, ignoring the fact that his friend is himself in love with Sara. On a late-night rendezvous with the woman, Essex reproaches her for marrying Nottingham; Sara, on her part, reproaches him for wearing a ring on his finger given to him by the Queen, as a pledge of mercy in the event of his conviction. As a parting gift, Essex gives Sara Elisabetta’s ring and Sara hands him her scarf.

Roberto Devereux

The action unfolds in Imperial Rome, during the reign of Tiberius. The general Publio returns victorious from his campaign against the Sarmatians. Everyone assumes that his triumph will culminate in a marriage to Argelia, the daughter of the powerful senator Murena. Yet Murena is tormented by the thought of Settimio—the tribune of the people he betrayed and sent into exile, and whom Argelia once loved. Because of this, she keeps her distance from him and harbors deep resentment.

L'esule di Roma

The story—fictional yet grounded in historical context—takes place in late-fifteenth-century Granada. The city, the last Arab kingdom on the Iberian Peninsula, is under siege by Spanish forces. Inside its walls, however, an internal conflict rages just as fiercely between two factions: the Abenceragi clan and the Zegri.

Alahor in Granata

Teatro Sociale

An opera troupe gathers in the theatre of a small Italian town to rehearse the serious melodrama scheduled for the local fair season. The libretto—by none other than Metastasio—has been clumsily adapted by a local hack poet, then set to music by an even more provincial composer. As for the singers, they may be second-rate, but they carry themselves with all the airs and demands of true stars. And so the stage quickly fills with squabbles between rival prima donnas, grumbling from the disgruntled, and a harried poet and composer struggling to satisfy everyone’s whims—not to mention meddling mothers and intrusive husbands.

Le convenienze ed inconvenienze teatrali

What does a conductor actually do with that baton? Why does everyone watch them so closely—and why are they called “Maestro”?

Qui Maestro Gavazzeni

The Donizetti Brunch: DONIZETTI SONGS I

A colazione con Gaetano: musica, latte e fantasia!

The stage manager is getting everything ready for the show: cueing the audience for the imminent start, giving instructions to the technicians to ensure everything is in place, and finalizing the last details before the curtain rises…

Bacchette magiche

Tornado Agata.

You fly from the Far East with its suspended atmospheres, you land in Latin America amidst overwhelming rhythms that make you want to dance, you cross Europe amidst ancient and evocative melodies, until you reach the intense colours of the Mediterranean and Jewish tradition. Each track è a stage. Each stage, a surprise.

MUSIC PASSPORT. Around the world in 80 minutes

In 1922, Carlo Lombardo, at the height of his favourable period of happy intuitions, produced two successful operettas: Scugnizza and La Danza delle Libellule. For the former, the author of the music was Mario Costa; for the latter, Lombardo had obtained permission from Lehàr himself to re-adapt the melodies of the Sterngucker, already presented, with little success, in Vienna in 1916. In the skilful hands of the Neapolitan composer-librettist, the operetta was so pleasantly transformed that Lehàr himself presented it first in Vienna, then in various countries in Europe and America. In northern Europe, La Danza delle Libellule is still the most frequently performed of the Italian operettas, and is known under the title Le Tre Grazie (The Three Graces).

The Dance Of The Dragonflies

For more than sixty years Rosencrantz and Guildenstern are Dead by Tom Stoppard has been performed all over the world and has thus become a beloved and appreciated classic of contemporary theatre.

Rosencrantz and Guildenstern are dead

A meeting open to the public to get to the heart of Rosencrantz and Guildenstern are dead, Tom Stoppard's masterpiece that reverses the view of Amleto's Shakespearean universe.

Around ROSENCRANTZ AND GUILDERNSTERN ARE DEAD

Among the highest peaks of Western music, Messiah by Georg Friedrich Händel occupies a unique place, for expressive force, dramatic power and spiritual depth. Composed in just twenty-four days in the summer of 1741, to a libretto based entirely on biblical texts, this oratorio has become a universal symbol, loved and performed all over the world.

Messiah

Let yourself be enchanted by the timeless magic of The Nutcracker as you have never seen it before.

The Nutcracker

The central theme of this year's Christmas Concert will be hope: hope for a better world, for a humanity capable of peace, in the beauty of creation.

Christmas Concert

Two enthralling hours for an extraordinary journey through the history and music of the Fab Four. A show that was born from the union between the impeccable performance of The Beatbox and the narrative charm of Carlo Massarini, creating a show capable of masterfully mixing live music and compelling stories of those who revolutionised the history of music and beyond. In the course of the five acts that structure the show, Carlo Massarini accompanies the audience to discover the most fascinating anecdotes and curiosities of the extraordinary adventure of the four baronets of Liverpool. Nothing has been left to chance: every detail has been taken care of with extreme precision, from the original instruments of the time, identical to those used by the Beatles in their historic concerts and studio sessions, to the changes in clothing and make-up, faithfully recreating the atmosphere and unmistakable style of that magical period. The show, which traverses memories and discoveries of different generations, aims to bring back the enthusiasm and positivity of the legendary Sixties. The setlist traces the greatest hits from the early days at Liverpool's Cavern Club, through the periods of Rubber Soul and Revolver, to the masterpieces that preceded the band's break-up in 1970. The Beatbox faithfully reproduce the hits from the Beatles discography with extraordinary executive precision, restoring to the audience the sonic, vocal and visual impact of the legendary quartet. The result is an ageless experience, capable of involving a heterogeneous audience: from the nostalgic sixties to the new generations, proving that the Beatles' music is truly timeless. Two hours of exciting concert, during which it will be possible to relive iconic songs such as She Loves You, A Hard Day’s Night, Yesterday, Twist and Shout, Hey Jude, Come Together, Let It Be, All You Need Is Love, just to name a few. There will also be true gems for fans and the curious alike, such as In My Life, Tomorrow Never Knows, Eleanor Rigby and many other milestones of modern music. Fun is guaranteed. The words of John, Paul, George and Ringo.

Magical Mystery Story

The Orchestra Filarmonica Italiana renews the tradition of the New Year's Concert in Bergamo in 2027, offering a festive and elegant programme inspired by the immortal music of the Strauss family, enriched as always by some precious surprises outside the repertoire. Waltzes, polkas and overtures will accompany the audience on a brilliant and enthralling musical journey, a symbol of good luck and renewal, a repertoire that combines lightness, virtuosity and great symphonic tradition.

New Year's Concert

Embellished in its sets and costumes, the Carmen of the Balletto di Milano confirms itself as one of the most eagerly awaited productions of the season. Carmen, beautiful and nonconformist, passionate and desired, who defies anyone who wants to subdue her, and Destiny, so well described by the omnipresent leitmotif of the music, are the protagonists of the Balletto di Milano's exclusive version. A bewitching face-to-face in which Carmen will understand that the only way to live as she wishes is to bow to Him, to the fatum, and accept the imminent death announced to her by the cards.

Carmen

The interwar European economic crisis is also felt in the small kingdom of Silvaria. The state coffers are miserably empty and only a miracle can avoid bankruptcy. Here one day a young American billionaire, Mary Lloyd, who travels the world in search of new excitement, arrives and buys the royal castle of Silvaria, securing a hefty sum for the agonising state budget. Everyone rejoices except the proud prince Sandor Boris with whom Miss Mary immediately falls in love. With the swiftness that characterises Americans, the Castle of Silvaria is completely transformed; the one who has the time of her life is Princess Rose Marie, who begins an affectionate relationship with Miss Mary's secretary, Mister Bondy. To facilitate this union, King Pancras gives Bondy the title of Count. The skirmishes between Miss Mary and Prince Sandor continue until the prince, in a finale full of twists and turns, confesses his love to Miss Mary.

The Duchess Of Chicago

On the occasion of the centenary of its first performance, Turandot by Giacomo Puccini will be staged. Set in a fantasy China, the opera sees the contrast between the icy princess and the hero who tries to win her heart by tackling the three enigmas presented to him. Turandot è certainly one of the best-loved titles and, after Traviata in 2022 and La Bohème in 2024, it continues the trend of masterpieces entrusted to young directors selected through the directing call for under-35s.

Turandot

They say that when the Americans dropped the nuclear device on the city of Hiroshima, killing hundreds of thousands of people, the bodies of those people instantly dissolved under the explosive impact, but their shadows remained, as entities in their own right, projected on the walls of the half-collapsed buildings. But if the shadow uprooted from the body were to become a separate entity, retaining a shadowy memory of that body that was no longer beside it, that body would also lose consistency, would itself become a fragile, weak, spectral entity.This is what happens to the young Peter Schlemihl: his shadow is ceded in exchange for unlimited wealth, in a barter that seems attractive to him. The story of Peter Schlemihl, inspired by Adelbert von Chamisso's short story The Marvellous Story of Peter Schlemihl, is one of those existences that unfold in the toil of life as if they were always suspended, waiting for some revelation that, however, is always late in coming. Peter carries within him a kind of innocence, his gaze belongs to those who cannot reconcile themselves with the uniforming rules of society. Peter's story speaks of that harsh and difficult passage from youth to adulthood, when hope for the future clashes with the ruthlessness of the present. Faced with so many doors slammed in his face, Peter agrees to jump evenly up the existential slope in front of him in order to suddenly enter the big world he believes he is entitled to, a shortcut that in time turns out to be a trap and that will mark the rest of his life. The Lost Shadow of Peter Schlemihl is a show where even the languages work on the contrasts of light and shadow. Light becomes sound and vice versa, their metamorphosis is at one with the narrated words, everything devilishly intertwines, undermining the linearity of the story. A score of sounds intertwines with the narrator's voice, creating a continuous atmosphere of suspension, moving the spectator's eye towards the ear, thus prompting him to “imagine while listening”.

The Lost Shadow Of Peter Schlemihl

A meeting open to the public dedicated to L’ombra perduta di Peter Schlemihl, the play by Marco Baliani inspired by the famous story by Adelbert von Chamisso.

Around THE LOST SHADOW OF PETER SCHLEMIHL

In an inversion of the perception of time typical of dreams, an old actor, in the half-hour that separates him from going on stage to play the leading role in Strindberg's Temporale, finds himself reliving moments from his own life in an endless time. The soundtrack of the reality of a theatre that is coming alive outside his dressing room becomes the pretext and the sometimes light-hearted and sometimes moved invitation to wander and even to converse with the ghosts of his own past, in a mingling without temporal logic where one sound evokes another a laugh brings back a moment of joy a long silence to a loss distant in time.

Before The Storm

Fahrenheit 451 by Ray Bradbury describes a dystopian future in which reading is forbidden, constantly lit screens alienate people's free time, and the attempt to think causes physical discomfort. Ironically, the fire brigade is no longer employed to put out fires, but to burn books and, if necessary, their owners.

Fire Was The Cure

Un ballo in maschera is one of Giuseppe Verdi's most elegant and restless dramas. It debuted in 1859, after a troubled path with censorship that moved its setting from the Swedish court to an imaginary Boston. But the heart of the story remains intact: a plot of love, friendship and destiny that races towards tragedy.

A Masked Ball

Two men live in a cramped space, transformed into a perfect machine: every piece of furniture conceals a function, every gesture is calculated to the millimetre. But something is missing in their ordered life. To fill the void they create a mechanical doll, which, however, takes on life, opinions, will. It is the beginning of an uneasy, exhilarating, catastrophic cohabitation. Inspired by the silent and surreal universe of Buster Keaton, Lebensraum (“living space”) è a jewel of physical theatre by Jakop Ahlbom.

Lebensraum

Martin McDonagh, master of contemporary theatre and the grotesque, is known for his raw, ironic and ruthlessly realistic style. Acclaimed for plays such as The Leenane Trilogy and films such as Three Posters to Ebbing, Missouri, The Spirits of the Island and In Bruges, he is considered one of the most brilliant contemporary authors, capable of combining black humour with sharp social criticism. With The Little Queen of Leenane, the Irish playwright constructs a psychological thriller with a noir flavour, in which tension and humour combine in a merciless tale about family and loneliness. A bond between a mother and daughter poisoned by hatred, marked by an incessant conflict where resentment and addiction intertwine in a perverse game of power and frustration.

The Queen Of Leenane

A meeting open to the public dedicated to Il fuoco era la cura, the show by the Sotterraneo company, one of the most innovative realities of the contemporary Italian scene.

Around THE FIRE WAS THE CURE

Guglielmo Ferro brings back to the stage the wonderful comedy that was interpreted (in the cinema) by two sacred monsters such as Katharine Hepburn and Spencer Tracy.

Guess Who's Coming To Dinner?

Recco Aringa and Verdurini together, a historic duo with forty years of experience. Music, comedy that comes from the depths and makes you laugh, excite and sometimes even move.Because comedy is a serious business, very serious if done with talent and professionalism, energy and rigour: that is what the former Herringa and Verdurini, alias Maria Cassi and Leonardo Brizzi, have continued to do all over the world, from Asia to America, always firmly believing in the importance of good theatre and good music.

RECITAL. Our first 40 years of musical comedy theatre

After The Glass Zoo, which Leonardo Lidi adapted and directed, the LAC is once again producing a text by Tennessee Williams, Suddenly Last Summer, a drama laden with symbols and visions, which unfolds like a psychological thriller in a claustrophobic vortex of tension and violence.

Suddenly Last Summer

Il Paese dei Campanelli, together with Cin-Ci-Là, is certainly the most famous Italian operetta. Still alive and kicking, this work by the Ranzato-Lombardo duo binds its success to the particular lightness and cheerfulness of the text, combined with the easy melodies and immediate impact. It is said that, the day after the first performance at the Teatro Lirico in Milan, many of the songs were sung or whistled in the streets by the Milanese.

The Land Of Bells

What happens when the enemy you fear knocks on your door? Elisabetta Pozzi is the protagonist of this powerful text by Dorfman together with Gigio Alberti and Giuseppe Sartori. A powerful theatrical allegory on the border, which unmasks the absurdity of fear of the other and of the walls that divide us.

The Other Side

Two young polar bears, Little Bear and Little Bear, embark on an epic journey in search of food and a way home in an Arctic in crisis due to global warming. During a fishing trip, Little Bear is separated from her brother due to melting ice. Desperate, Little Bear meets Snow Eater, an enigmatic salesman who promises to help him, but has dark ulterior motives: he wants to turn the glacial kingdom into a playground called Frostyland. Meanwhile, Little Bear is saved by the Ice Queen, a stern but protective entity who guards the mountain's fragile balance. When Little Bear, tricked by Snow Eater, clashes with the Queen, hidden truths emerge: only the pure singing of the two bears can heal the Ice Mountain, severely wounded by pollution and man's greed. With the help of unlikely allies, including Quantosonofico, a bungling but well-meaning tourist, and the faithful Walrus, the little brothers are reunited. United, they sing to the Mountain, restoring peace and saving their fragile ecosystem. Snow-Eater, defeated, is forced to clean up the damage caused by his greed.

Little Bear And The Ice Mountain

A meeting open to the public dedicated to Eumenidi. Tutta, tutta del padre io sono, the play by ATIR directed by Serena Sinigaglia.

Around EUMENIDS

In a family, one day, the husband's habitual violence against his wife turns into a feminicide. The man kills her by smashing her head with an iron. The woman lies on the ground, dead, but her death is not enough: no one believes her. So it is that the woman, like the angel of the hearth in whose grotesque image she finds herself stuck, will be forced to get up and get back into the same routine, cleaning the house, taking care of housework, preparing food for her son and husband, looking after her elderly mother-in-law. Every morning, family members find her dead and do not believe her. Every morning she gets up, opens the moka pot, closed too tightly, and begins again to suffer the violence of her husband, the depression of her son, the impotence of her mother-in-law who, instead of condemning her brutal and despotic son, pities him. Every night the wife dies again, as in a circle of hell in which the punishment is never extinguished. In the half-light of a sleeping house, the angel shakes the flaps of her dressing gown and tries to fly, but she is only granted the intention of flight.

The Angel Of The Hearth

Green Days is the story of two generations in comparison. It is the story of Marco and Emma, father and daughter, Millenial and Gen Z. She, often more parent than daughter, busy like all young people between school, work, smartphones and a life of passions and friendships. One of these passions is environmentalism. He lives a precarious life, until one day he receives a job offer that could change their lives: a permanent position as a security guard at a natural gas distribution company. Marco is at a crossroads, but finally accepts the job.

Green Days

It seems to me, and I say this with regret, that there is still a need to reiterate the whys and wherefores of theatre. And by theatre I mean the only one I know, the one that is not content to repeat the past like a relic, the one that does not evaluate its existence with the applause meter, as if it were some TV format. Theatre cannot and must not reason around the perception of its own approval or hide behind the search for easy consensus. This would mean abdicating its social purpose. Its raison d'être lies not in approval, but in necessity. Those who, like me, have put their lives in the hands of the theatre suffer from seeing their love treated superficially, reduced to entertainment or, again, voluntarily closed to ever smaller niches of the public, as if it were not enough for themselves. As if, in this new century and in this new millennium, it was essential to re-evaluate the power of this art at all costs, forgetting that it is one of the few remaining instruments capable of keeping alive and nourishing the collective consciousness.

Fondazione Teatro Donizetti

Jun 27, 2026

Claudio Angeleri: FROM BE TO POPS

Jul 2, 2026

Fatoumata Diawara

Jul 4, 2026