Solo Echo / Rhapsody in Blue / Glory Hall

Cité des Congrès Nantes

3 April H 20.45

Aterballetto, glory hall, Productions, Rhapsody in Blue, solo echo

The CCN/Aterballetto dances in Nantes, France, the triptych composed of Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, Solo Echo by Crystal Pite, and Glory Hall by Diego Tortelli.

The show is in partnership with Directorate-General for Public and Cultural Diplomacy of Ministry of Foreign Affairs and International Cooperation and Italian Institute of Culture in Paris

SOLO ECHO – Crystal Pite

Love, loss, and acceptance are at the heart of Solo Echo by the Canadian choreographer Crystal Pite, inspired by two cello and piano sonatas by Johannes Brahms and the poem “Lines for Winter” by Mark Strand. As in Strand’s poem, Solo Echo evokes winter, music, and the moving body to express something essential about acceptance and loss.

RHAPSODY IN BLUE – Iratxe Ansa & Igor Bacovich

«Rhapsody in Blue by George Gershwin has several attractive points for us. It is a splendid piece of music, well-known but not so frequently listened to by the younger generations. Introducing this work to young people is a good objective, and this piece can be a way to present a less distant and less “American” vision of Gershwin, going beyond the cultural context in which the rhapsody was created. The rhapsody will inevitably dictate the choreographic work, and the lively, sparkling changes with which to play are fantastic. » – Iratxe Ansa & Igor Bacovich

GLORY HALL – Diego Tortelli

Glory Hall by Diego Tortelli is a sensorial and rebellious journey in an in-between space, suspended between light and darkness. In a black but never truly dark space, the choreography unfolds as an ecstatic rite where sensuality and profane spirituality intertwine, creating a continuous interplay of pleasure, virtuosity, and the pursuit of a personal version of glory.

In anteprima a Reggio Emilia "The Fridas", nuova creazione della coreografa Sofia Nappi ispirata a Frida Kahlo. Venerdì 04.04 in Fonderia.

THE FRIDAS – PREVIEW

Fonderia Reggio Emilia

4 April H 21.00

Performances, Season, season january july 2025

Danza in Fonderia, the CCN/Aterballetto series, hosts an exclusive preview of Sofia Nappi’s latest creation.

The Fridas is inspired by Frida Kahlo’s painting The Two Fridas and explores the complex theme of human identity through a relationship of complicity and contrast, going beyond simple dualism. Through gestures that reveal intimacy and vulnerability, challenging the conventions of masculinity, the two dancers on stage navigate emotional states and become an expressive vehicle for the countless facets contained within each individual.

After the performance, a talk with choreographer Sofia Nappi.

Credits

Choreography Sofia Nappi
in collaboration with dancers Paolo Piancastelli, Adriano Popolo Rubbio
Choreography assistant Glenda Gheller
Costume design Adriano Popolo Rubbio
Costume production Adriano Popolo Rubbio, Adelaide D’Ago
Lighting design Alessandro Caso
Music various artists

Production Komoco
Co-production Festival Danza in Rete – Teatro Comunale Città di Vicenza
With the support of Oriente/Occidente, Centro Coreografico Nazionale/Aterballetto

Project residency at the Centro di Rilevante Interesse Nazionale per la Danza Scenario Pubblico/CZD

Duration: approximately 25 minutes

SOFIA NAPPI

Sofia Nappi is a choreographer and the artistic director of KOMOCO, a contemporary dance company based in Italy and active internationally, which she co-founded together with her first muses, Adriano Popolo Rubbio and Paolo Piancastelli. From the very beginning, Sofia’s early creations with KOMOCO won prestigious awards: the Partner Introdans Award (Rotterdam International Duet Choreography Competition 2021), and the 1st Prize, the Critics’ Prize, and the Production Prize at the 35th International Choreography Competition Hannover, awarded by the Tanja Liedtke Foundation and Marco Goecke (2021).

Currently, KOMOCO’s works choreographed by Sofia are presented in Italy and on international tours across Europe, as well as in Mexico, Canada, and Serbia, hosted by renowned institutions and international festivals. As an independent choreographer, Sofia also creates new works for internationally recognized dance companies and theaters, including Nederlands Dans Theater 2, Leipzig Ballet, Gauthier Dance//Dance Company Theaterhaus Stuttgart, Ballet BC, Göteborg Opera, National Theatre Mannheim, Staatsoper Hannover, and Scottish Dance Theatre.

In parallel, Sofia Nappi’s work extends to research and professional training at an international level, in close collaboration with the dancers of KOMOCO. Since 2022, she has been organizing the biannual company workshop “Komoco Intensive” in Florence, welcoming professional dancers from all over the world. Sofia graduated from the Alvin Ailey American Dance Theater in New York; her training has also been significantly influenced by her close connection with the Hofesh Shechter Dance Company and her study of Gaga, the movement language developed by renowned choreographer Ohad Naharin.

Info&Tickets

TICKETS

3 euros

PURCHASING TICKETS

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens one hour before the start of the performance (Via della Costituzione 39, Reggio Emilia).

Tickets are unnumbered.

CONTACTS FOR RESERVATIONS

Phone & WhatsApp: 3341023554

Email biglietteria@aterballetto.it

Solo Echo / Rhapsody in Blue / Glory Hall

L’Archipel Fouesnant-les Glénan

5 April H 20.30

Aterballetto, glory hall, Productions, Rhapsody in Blue, solo echo

The CCN/Aterballetto dances in Fousnant, France, the triptych composed of Rhapsody in Blue by Iratxe Ansa and Igor Bacovich, Solo Echo by Crystal Pite, and Glory Hall by Diego Tortelli.

SOLO ECHO – Crystal Pite

Love, loss, and acceptance are at the heart of Solo Echo by the Canadian choreographer Crystal Pite, inspired by two cello and piano sonatas by Johannes Brahms and the poem “Lines for Winter” by Mark Strand. As in Strand’s poem, Solo Echo evokes winter, music, and the moving body to express something essential about acceptance and loss.

RHAPSODY IN BLUE – Iratxe Ansa & Igor Bacovich

«Rhapsody in Blue by George Gershwin has several attractive points for us. It is a splendid piece of music, well-known but not so frequently listened to by the younger generations. Introducing this work to young people is a good objective, and this piece can be a way to present a less distant and less “American” vision of Gershwin, going beyond the cultural context in which the rhapsody was created. The rhapsody will inevitably dictate the choreographic work, and the lively, sparkling changes with which to play are fantastic. » – Iratxe Ansa & Igor Bacovich

GLORY HALL – Diego Tortelli

Glory Hall by Diego Tortelli is a sensorial and rebellious journey in an in-between space, suspended between light and darkness. In a black but never truly dark space, the choreography unfolds as an ecstatic rite where sensuality and profane spirituality intertwine, creating a continuous interplay of pleasure, virtuosity, and the pursuit of a personal version of glory.

FELLINIANA – Omaggio a Fellini

Fonderia Reggio Emilia

8 April H 21.00

Performances, Season, season january july 2025

FELLINIANA – Tribute to Fellini is a performance that evokes the universe of the great Maestro and his most famous films through the choreography of Monica Casadei.

The bodies of the Artemis Danza Company move between dance and contemporary circus, dream and reality, accompanied by the unforgettable music composed by Nino Rota for Federico Fellini. Euphoric and sparkling choreography, virtuosity, and an irresistible humanity animate this performance, making it a poetic and sensitive manifesto that celebrates the history of Italian cinema and music.

Watch the video on YouTube

CREDITS

Choreography, direction, sets, and lighting Monica Casadei
Music Nino Rota
Costumes Daniela Usai

Production Compagnia Artemis Danza
In collaboration with Teatro Municipale di Piacenza, Teatro Comunale di Bologna, Istituti Italiani di Cultura in Chicago, Hong Kong, Jakarta, Prague, Tunis, Zurich
Project selected for Parma 2020+21 Italian Capital of Culture
With the contribution of Ministry of Culture, Emilia Romagna Region – Department of Culture

MONICA CASADEI

Of Ferrara origin and with a degree in Philosophy with honors, with a thesis on Plato and dance, Monica Casadei, after an athletic career in rhythmic gymnastics, devoted herself to the study of classical and modern dance, first in Italy, then in London, and finally in Paris, where she met choreographers Pierre Doussaint and Isabelle Doubouloz, and master André Cognard Hanshi So shihan, with whom she still practices the martial art of Aikido. In 1994, she founded the company Artemis Danza in France, and in 1997, she moved to Italy, where she began an intense production activity that now counts over fifty original creations. From 1998 to 2007, the company was in residence at the Fondazione Teatro Due in Parma, while from 2014 to 2018, it was in artistic residence at the Teatro Comunale in Bologna. Essential to Monica Casadei’s artistic research were her encounters with Federico Fellini, the investigative journey linked to the great lyrical tradition with performances such as Il Barbiere di Siviglia and the series of creations dedicated to opera heroines reinterpreted in a contemporary key (examples include Traviata, Tosca X, Carmen K, Butterfly – Colori Proibiti, Private Callas, Puccini’s Opera.Voci di Donne). Artemis Danza’s productions are characterized by contamination with different artistic, cultural, and geographical areas, as well as the exploration of urban places and spaces that become the stage for performative actions. In addition to its production activities, Artemis supports, produces, and promotes young authors and carries out many activities for audience development.

Info&Tickets

TICKETS

Full price: 10 euros

Discounted under 30, dance schools, Liceo Coreutico Matilde di Canossa, over 65, members of CRAL Comune di Reggio Emilia: 6 euros

Discounted under 8: 3 euros

TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens half an hour before the performance starts (via della Costituzione 39, Reggio Emilia).

Tickets are not numbered.

CONTACTS FOR RESERVATIONS

Phone and WhatsApp: 3341023554

Email biglietteria@aterballetto.it

NOTTE MORRICONE

Teatro Sociale Brescia

10 April H 20.30

Aterballetto, Notte Morricone, Productions

CCN Aterballetto – Notte Morricone – ph. Christophe Bernard (12)

The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.

The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »

Duration 90′

NOTTE MORRICONE

Teatro Sociale Brescia

11 April H 20.30

Aterballetto, Notte Morricone, Productions

The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.

The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »

Duration 90′

Accademia Teatro alla Scala, Cenerentola

Viaggio nel repertorio del balletto. Accademia Danza alla Scala

Fonderia Reggio Emilia

12 April H 18.00

Performances, Season, season january july 2025

Viaggio nel repertorio del balletto a Reggio Emilia, presso la Fonderia del Centro Coreografico Nazionale Aterballetto. Primo appuntamento con l'Accademia Teatro alla Scala, Cenerentola

Accademia Teatro alla Scala. Cenerentola. ©Rosa Arcelloni.

**First event of the project Viaggio nel repertorio del balletto, curated and led by dance journalist and critic Francesca Pedroni, in collaboration with the Accademia Teatro alla Scala**.

The project Viaggio nel repertorio del balletto (A Journey Through the Ballet Repertoire), promoted by Centro Coreografico Nazionale Aterballetto and curated by dance journalist and critic Francesca Pedroni, embarks on a series of performance-talks. Hosted at the Fonderia in Reggio Emilia, the events feature guest artists—dancers and maîtres from Italy’s leading ballet companies—and aim to offer a behind-the-scenes look at the preparation of exemplary works from the great ballet seasons. A prologue to the project is today’s event with the Accademia Teatro alla Scala, which—together with Ballet School teacher Walter Madau and several upper-year students—explores the value of repertoire as a fundamental training ground.

Each event explores ballet repertoire and the technique of classical-academic dance, highlighting its connections with costume design, set design, and music—from the first rehearsals to the actual performance.

The first event features the Accademia Teatro alla Scala, presenting:

VARIAZIONE DI CENERENTOLA
From CENERENTOLA by Frédéric Olivieri
Music by Sergei Prokofiev
Student: Maria Vittoria Bandini

NEW SLEEP (DUET) by William Forsythe
Music by Thom Willems
Students: Sienna Bingham e Michele Forghieri

PASSO A DUE DI MATTO E GELSOMINA
From LA STRADA by Mario Pistoni
Music by Nino Rota
Students: Francesco Della Valle, Laura Farina

VARIAZIONE DI GELSOMINA
From LA STRADA by Mario Pistoni
Music by Nino Rota
Student: Laura Farina

Accademia Teatro alla Scala. Grand Tour AFAM. Lucca, gennaio 2025. ©Munari.

CENERENTOLA

From CENERENTOLA by Frédéric Olivieri, set to music by Sergei Prokof’ev
Variation – Maria Vittoria Bandini

A great fairytale of ballet and the collective imagination, Cenerentola has always told the story of a dream becoming reality—thanks to the triumph of good over evil and the victory of values like kindness and generosity over envy, hypocrisy, and deceit. A beautiful lesson for the students of the Accademia Teatro alla Scala’s Ballet School, encouraging not only technical and interpretive growth on a professional level, but also a meaningful, human reflection on values central to their development as young artists.

Sergei Prokofiev, composer of the ballet’s lyrical score—which premiered at the Bolshoi Theatre in 1945—wrote:

“What I wanted to express above all in my music was the poetic love between Cinderella and the Prince: the birth and blossoming of this love, the obstacles in its path, and the fulfillment of the dream.”
He also added:
“I was eager to create a ballet that was as ‘danceable’ as possible, with a variety of dances woven into the story and offering the dancers plenty of opportunity to showcase their art.”

Commissioned by the Bracco Foundation, Frédéric Olivieri, Director of the Ballet School, created a new version of Cenerentola that fully responds to Prokofiev’s intentions—an ambitious two-act production tailored to the talent and training of the School’s young dancers. A dreamlike staging of which the School is justifiably proud, the production features hand-painted sets by Angelo Sala, specially designed costumes by Chiara Donato, and the collaboration of current and former students from the Academy’s costume-making program, together with the renowned Sartoria Brancato.

This collective work brings more than one hundred students to the stage in choreography rich with both virtuosic and expressive roles. Around the central characters of Cinderella and the Prince, the contrast between good and evil is drawn—without relying on the traditional aesthetic opposition between beauty and ugliness. The Stepmother and Stepsisters are not performed en travesti nor grotesquely made-up; it is left entirely to the dance to reveal the true nature of each character.

Francesca Pedroni

NEW SLEEP (DUET)

NEW SLEEP (DUET)

Choreography by William Forsythe
Music by Thom Willems
Performed by: Sienna Bingham e Michele Forghieri

New Sleep (Duet) by William Forsythe: the joyful mechanics of partnering

New Sleep (Duet) is a brilliant example of William Forsythe’s post-classical dynamism. A master of the ever-evolving language of ballet, Forsythe has transformed classical academic vocabulary into something incandescent and radically contemporary. His is a dizzying creativity in which dancers’ virtuosity is both celebrated and expanded to its fullest potential. When we met Forsythe last year in Milan for the premiere of Blake Works V at Teatro alla Scala, he offered an insight that also perfectly applies to approaching the duet New Sleep:

“People often confuse the academy—which is the set of rules, the grammar—with choreography, which is the exception. The academy clearly prescribes the steps, how they are learned one after the other, in relation to tradition and history. We, as choreographers, must find a way to show what the academy gives to dancers, helping them understand what can be done with it, and where the difference lies between the rules of the School and the exceptions of choreography.”
— William Forsythe, in Francesca Pedroni, William Forsythe – Il balletto: una gioia tra regole e formidabili eccezioni, Danza&Danza, n. 310, May–June 2023.

A beautiful challenge for such young dancers.

The duet is built around Thom Willems’ striking score—a long-time collaborator of Forsythe—filled with harsh, urban sounds that evoke a dance darting through the whir of metal machinery. The duet is a game of trust between the partners—she en pointe—a push, a hold, a release, full of off-balance movement.

The work has been restaged for the students by Forsythe dancer Noah Gelber and Kathryn Bennetts, with the support of the school’s resident teachers. Bennetts, a close collaborator of Forsythe since the late 1980s during his tenure at the Frankfurt Ballet, has long been responsible for reviving his repertoire internationally.
New Sleep (Duet) is the third Forsythe work to enter the repertoire of the Accademia’s Ballet School, following The Vertiginous Thrill of Exactitude—unforgettable with its sharp, acid-yellow tutus—and, in 2019, In the Middle, Somewhat Elevated, also revived by Bennetts.

“New Sleep was originally created in 1987 for the San Francisco Ballet,” explains Bennetts. “It’s a piece I adore, which I’ve revived over the years in Zurich, Antwerp, Monte Carlo. It’s a wild, surreal, strange, and fun work. As often happens with Bill (short for William), there are many elaborations and later variations. The version of the duet restaged for the School was created for a gala in 2011, specifically choreographed on Katherina Markowskaja of the Bayerisches Staatsballett in Munich, partnered with Noah Gelber. It’s based on a duet from the original but features many modifications. It has its own distinct atmosphere—it’s fresh, current, and perfectly suited for the School. It develops a beautiful partnering technique, almost like in rock & roll. And when young dancers are intelligent and talented, they’re willing to take the risk and ride the speed—there’s a constant challenge in the space.”

“Returning to the Accademia’s Ballet School is always a joy for me,” Bennetts adds. “When I came for In the Middle, I worked with Linda Giubelli, Giorgia Pasini, Daniele Bonelli—and now I see them in major companies: at La Scala, the San Carlo in Naples, in Düsseldorf. Frédéric Olivieri has shaped the School as a true preparation for professional life, giving students the habit of approaching choreography from a very young age. It’s rare—and it pays off.”

Francesca Pedroni

LA STRADA

From LA STRADA (SUITE) by Mario Pistoni, set to music by Nino Rota
Variazione di Gelsomina – Laura Farina
Passo a due del Matto e Gelsomina – Francesco Della Valle, Laura Farina

“La strada” by Mario Pistoni. Between Fellini and dance, Gelsomina lives again in a suite of excerpts

In 1966, La strada by Mario Pistoni premiered at Teatro alla Scala. A masterpiece imbued with a poignant sense of nostalgia and fleeting, fragile moments in which happiness seems possible—yet proves to be an illusion. The music is by Nino Rota. The story is inspired by Federico Fellini’s film of the same name, with an unforgettable Giulietta Masina in the role of Gelsomina. She travels the world with Zampanò, portrayed in the film by a brutish Anthony Quinn—a rough street performer who earns his living breaking chains with the strength of his chest. The Fool, a pure and childlike soul, plays the violin and shares Gelsomina’s sensitivity. On stage in 1966, the Fool was Mario Pistoni himself, and Gelsomina was danced by Carla Fracci. In later years, the role would be interpreted by Oriella Dorella, Alessandra Ferri, and Gilda Gelati. A principal dancer at Teatro alla Scala since 1951, Pistoni danced Romeo alongside Carla Fracci’s debut as Juliet in John Cranko’s historic 1958 production. Two years later, he made his debut as a choreographer.

La strada is a narrative ballet, cinematic not only in its inspiration but also in its three-dimensional staging, with simultaneous planes of action. It tells a story of everyday poverty and shattered hopes, set in a world dear to Fellini’s imagination—the circus—and blends classical technique with modern styles ranging from tango to jazz. A richly populated ballet, it offers young students the opportunity to explore emotion and storytelling through dance.

For the Ballet School, it was decided to restage a suite of selected scenes from La strada. This task was entrusted to Guido Pistoni, Mario’s nephew, a dancer trained at the Teatro dell’Opera di Roma who has previously performed in the ballet and now oversees his uncle’s repertoire.
Guido Pistoni explains: “For the Ballet School, we chose to omit the more dramatic scenes from the original ballet, such as the Fool’s death. In agreement with Maestro Olivieri, I focused on the more danced sections and the circus characters, ending the ballet with the dreamlike scene of the three Pierrots alongside Gelsomina.”

The suite begins with a group scene involving numerous student couples, including some of the youngest pupils, and of course, Zampanò (guest artist and former Scala principal dancer Mick Zeni) and Gelsomina. It opens with a festive tango. Gelsomina enters with her small drum slung around her neck, tousled short hair, and that smiling, heart-tugging expression. The suite continues with Zampanò’s act, the shooting gallery, the wedding, and a jazz dance. Zampanò’s affair with a street woman saddens Gelsomina. Her variation is one of the most moving moments in the ballet. Gelsomina then encounters many characters: musicians, the Fool—with whom she dances a poignant pas de deux that reveals the personalities of both characters—soldiers, sandwich girls, ballerinas, and the Pierrots.

“Fellini and Giulietta Masina were very fond of the ballet,” recalls Guido Pistoni. “Whenever she could, she came to see La strada. I remember one time in Rome when my uncle called her on stage at the end of the performance and asked the orchestra’s first trumpet to play Gelsomina’s theme for her. Such pathos! The students worked very well, fully focused on both the technical and interpretive aspects. During the rehearsal weeks, with the help of their teachers, I saw them grow artistically. I’m glad this Italian work has been brought back to life.”

Francesca Pedroni

ACCADEMIA TEATRO ALLA SCALA

FONDAZIONE ACCADEMIA TEATRO ALLA SCALA

Established as a Foundation in 2001, the Accademia Teatro alla Scala boasts over two centuries of history, thanks to the Teatro alla Scala’s long-standing commitment to education and training—dating back to 1813, the year the Ballet School was founded. Still today, it is considered one of the most prestigious institutions for the teaching of dance.

With a faculty composed of artists and professionals from Teatro alla Scala, alongside leading experts from the performing arts sector, the Academy now covers virtually all professions in the live performance industry. It offers a broad catalogue of courses organized into four departments: Music, Dance, Stagecraft, and Management. This includes training programs, advanced specialization courses, first- and second-level academic diplomas equivalent to university degrees, as well as first-level master’s programs, workshops, and summer intensives.

DANCE DEPARTMENT

The Dance Department, directed since 2003 by Frédéric Olivieri—who has also recently returned to lead the Teatro alla Scala Ballet Company—offers courses for all age groups and educational needs in the field of dance. In addition to the Ballet School, the Department includes a five-year introductory dance program designed for children aged 6 to 10, which introduces them to dance through playful and expressive activities; an advanced training course in classical and contemporary dance for dancers wishing to refine their skills across different styles and choreographic methods; and first- and second-level academic programs aimed at training highly qualified classical dance teachers.

At the heart of the Department lies the Ballet School. Founded in 1813 by Francesco Benedetto Ricci, it has been led over the years by renowned ballerinas and distinguished masters, and has trained dancers of the highest calibre. Just a few names: Carla Fracci, Liliana Cosi, Luciana Savignano, Oriella Dorella, Roberto Bolle, Nicoletta Manni. Structured as an eight-year program, the School awards a diploma with a dual specialization in classical-academic dance and modern-contemporary dance—responding to the needs of international companies that now demand dancers proficient in an increasingly broad and diverse repertoire.

During their training, students take part in various productions of the Teatro alla Scala season and perform on important stages in Italy and abroad. A key element in their artistic development is the opportunity to interpret iconic choreographies by past and present masters such as Marius Petipa, August Bournonville, George Balanchine, Maurice Béjart, Anton Dolin, Mario Pistoni, Mauro Bigonzetti, Mats Ek, William Forsythe, Jiří Kylián, José Limón, Roland Petit, Angelin Preljocaj, and Demis Volpi.
Additionally, works have been created specifically for the Ballet School by choreographers such as Davide Bombana, Shantala Shivalingappa, Matteo Levaggi, Emanuela Tagliavia, and Valentino Zucchetti.
Also worth noting are the new choreographic versions of major repertoire titles signed by Frédéric Olivieri, including Lo schiaccianoci, Cenerentola (commissioned by the Bracco Foundation), and La fille mal gardée.

FRANCESCA PEDRONI

Dance critic for the newspaper Il manifesto and the magazine Danza&Danza. For the television channel Classica HD (formerly Sky Classica, channel 124), she worked as writer and director of the series Danza in Scena, producing over 70 documentaries dedicated to artists such as William Forsythe, Pina Bausch, and Alessandra Ferri. For cinema, she wrote and directed the docufilm Roberto Bolle. L’arte della Danza, produced by Classica and Artedanza srl. She curated the DVD collection I capolavori della danza, published by Classica HD in collaboration with Corriere della Sera. Since 2000, she has taught Dance History at the Accademia Teatro alla Scala and leads ballet talks for the Teatro alla Scala’s Under30/35 subscription program.

Info&TICKETS

TICKETS

6 euros

PURCHASING TICKETS

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens 30 minutes before the start of the performance (Via della Costituzione 39, Reggio Emilia).

Tickets are unnumbered.

CONTACTS FOR RESERVATIONS

Phone & WhatsApp: 3341023554
Email biglietteria@aterballetto.it

NOTTE MORRICONE

Teatro Sociale Brescia

12 April H 20.30

Aterballetto, Notte Morricone, Productions

The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.

The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »

Duration 90′

NOTTE MORRICONE

Teatro Sociale Brescia

13 April H 15.30

Aterballetto, Notte Morricone, Productions

The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.

The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »

Duration 90′

Impromptus

Artificerie Almagià Ravenna

15 April H 21.00

Aterballetto, Productions

IMPROMPTUS
Arias, Dances, and Improvisations

The Centro Coreografico Nazionale / Aterballetto and Fondazione Ravenna Manifestazioni collaborate once again to create a new project, where dance and music meet, intertwine, and transform into unique performances. The aim is to create a creative space where choreographers and musicians work side by side, shaping works born from improvisation and mutual inspiration.

The goal of the project is to explore new ways of interaction between movement and sound, fostering a fluid and spontaneous relationship between the two disciplines. Through artistic experimentation, dancers and musicians push beyond the traditional boundaries of composition, creating short performances (from 15 to 20 minutes) that express the intensity of this encounter.

Thursday, March 13, 9:00 PM
Artificerie Almagià, Ravenna

Daniele Di Bonaventura bandoneon
Alfredo Laviano percussion
Roberto Tedesco and Gador Lago Benito dancers

Tuesday, April 15, 9:00 PM
Artificerie Almagià, Ravenna

Cellos of the Orchestra Giovanile Luigi Cherubini
Leonardo Farina and Arianna Ganassi dancers

NOTTE MORRICONE

Teatro Comunale L. Pavarotti Modena

16 April H 20.30

Aterballetto, Notte Morricone, Productions

The National Choreographic Center/Aterballetto pays tribute to Ennio Morricone with a new production by Spanish choreographer Marcos Morau.

The Spanish artist, with his visionary power and ability to transform musical universes, presents a unique creation that intertwines the music of Academy Award winner Ennio Morricone with dance, visual arts, and cinematic inspirations.
Marcos Morau, the youngest choreographer to date to receive the National Dance Award, Spain’s highest honor in dance, constructs imaginary worlds and landscapes where image, text, movement, music, and space form a unique universe constantly nurtured by cinema, photography, and literature. Now, for his first collaboration with the CCN/Aterballetto, he has chosen to draw from iconic compositions of the cinematic landscape of the last seventy years: those of Academy Award winner Ennio Morricone.
The director says: “With classical training and an avant-garde vocation, Morricone has always been beyond the trends of his time. His music spans an entire century and has revived the works of many great masters. For this evening, I aim to build a universe based on his sensitivity, confirming that his legacy is more alive than ever, and, as he himself would say, ‘My music has a life of its own, which can live beyond the films for which it was created.'”
Discover more »

Duration 90′

Impromptus

Fonderia Reggio Emilia

17 April H 21.00

Aterballetto, Performances, Productions, Season, season january july 2025

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IMPROMPTUS
Arias, Dances, and Improvisations

The Centro Coreografico Nazionale / Aterballetto and Fondazione Ravenna Manifestazioni collaborate once again to create a new project, where dance and music meet, intertwine, and transform into unique performances. The aim is to create a creative space where choreographers and musicians work side by side, shaping works born from improvisation and mutual inspiration.

The goal of the project is to explore new ways of interaction between movement and sound, fostering a fluid and spontaneous relationship between the two disciplines. Through artistic experimentation, dancers and musicians push beyond the traditional boundaries of composition, creating short performances (from 15 to 20 minutes) that express the intensity of this encounter.

Friday, March 14, 8:30 PM
Fonderia, Reggio Emilia

Daniele Di Bonaventura bandoneon
Alfredo Laviano percussion
Roberto Tedesco and Gador Lago Benito dancers

Wednesday, April 17, 8:30 PM
Fonderia, Reggio Emilia

Cellos of the Orchestra Giovanile Luigi Cherubini
Leonardo Farina and Arianna Ganassi dancers

Info & Tickets

TICKETS

10 euros

TICKET PURCHASE

ONLINE: https://www.biglietteriafonderia39.it/home.aspx
Fonderia Box Office: the box office opens one hour before the show starts (via della Costituzione 39, Reggio Emilia).

Tickets are not numbered.

CONTACT FOR RESERVATIONS

Phone and WhatsApp 3341023554

Email biglietteria@aterballetto.it

Teatro Masini – Faenza

Danza in Fonderia, the CCN/Aterballetto series, hosts an exclusive preview of Sofia Nappi’s latest creation.

FELLINIANA – Tribute to Fellini is a performance that evokes the universe of the great Maestro and his most famous films through the choreography of Monica Casadei.

First event of the project Viaggio nel repertorio del balletto, curated and led by dance journalist and critic Francesca Pedroni, in collaboration with the Accademia Teatro alla Scala.

**First event of the project Viaggio nel repertorio del balletto, curated and led by dance journalist and critic Francesca Pedroni, in collaboration with the Accademia Teatro alla Scala**.