Nature and technology vibrate together with music in an innovative way, thanks also to the performance of Christoph Hartmann, one of the world's great oboists. A member of the Berlin Philharmonic since 1992, he currently maintains an intensive concert schedule as a soloist in Europe, Asia, and the United States.
“Frammenti di una matrice pronta a esplodere” (Fragments of a matrix ready to explode) combines the art of sculpture and its gestures with real-time sound processing through a live performance where stone becomes an engraving medium, both musically and physically tangible. Granular synthesis, polymeters of sound objects, microsounds, ripples, dense matter, and imperfections.
The protagonists of this concert, in the circular space of the Foundation, are the electronic musician Madaski, founder and keyboardist of Africa Unite, who has always been sensitive to the demands of oppressed cultures, the tireless researcher and true activist for the promotion of Occitan culture, Sergio Berardo, and the violin virtuoso Giacomo Agazzini.
The amplified reality created by the performers resonates as a harmony on an emotional and physical level, giving back to the viewer the value of a true sensory experience.
Body movement alters the perception of Fondazione Merz's architecture, opening up poetic and dreamlike imaginaries.
It defines new realities that emerge from the action of bodies within the environment. The value of the site-specific is established through the re-definition of a familiar space that becomes unusual, original, and transformed.
The amplified reality created by the performers resonates as an emotional and physical harmony, providing the spectator with the value of a true sensory experience.
The Fibonacci sequence (also known as the golden sequence) marks the rules of evolution in the plant and animal worlds, and it is also a famous work by Mario Merz that illuminates the external spaces of the Foundation. The concert, created specifically for Narrazioni Parallele Festival and the spaces of the Foundation, is a continuous flow and transformation of musical and sonic identities designed for active participation by the audience.
Everyone knows the legendary names of Samarkand and Bukhara, placed however in a sort of magical and unreal past. The lands of Central Asia and in particular Uzbekistan are indeed lands of great history and rich cultural crossroads, but they hold within them an artistic and musical vitality waiting to be discovered.
Even today, moreover, there is a tendency to forget that the production of paper with modern standards was for centuries the heritage of the city of Samarkand. The program of the evening therefore intends to be a double play of perspectives, between Uzbek and European composers, to venture into an unusual landscape. A way of rediscovering the ancient community spirit of Greek Tragedy.
The Greek myth is revisited in the work of Willy Merz, following the Hellenistic version by Apollonius Rhodes, the famous librarian of Alexandria.
The story of the love between Jason and Medea is viewed here through a rational, scientific, and unconventional lens. All this makes it a story decidedly in tune with contemporary sensibility, allowing for a play of stylistic references within the score. A unique feature is provided by the choral writing: very simple and entirely in unison, it allows those in the audience who wish to participate in the singing, following a preliminary rehearsal.
A way of rediscovering the ancient community spirit of Greek Tragedy.
An immersive, site-specific experience where music, dance, and technology merge into a single creative breath, giving life to an unprecedented sensory journey.
In the heart of Campus Grapes—the world’s first high-tech urban vineyard—the audience is invited to lose and find themselves in a labyrinth of visions, sounds, and presences. There is no single perspective: everyone builds their own journey, crossing choreographic "paths" that evoke ancient myths, contemporary tensions, and interior landscapes.
There are journeys that do not cross space, but rather the deep time of civilizations.
Journeys that begin with a voice and open, note after note, a threshold: towards ritual, myth, the night, memory...
Moirai è il termine greco che indica le Moire, le Parche.
Prompted to draw inspiration from the art of weaving, Bianco—accompanied by the madrigals of Monteverdi—highlights those slender threads that seem to determine our destiny: the mysteries of life, love, and death that also intertwine within Monteverdi's song.
The threads of the Moirai, inexplicable in their trajectories, compose the fabric of an unknown fate, often poised to surprise us with the unpredictable tearing of its mesh. The result is a work on the frailty of human affairs and, at the same time, on the passionate and continuous evolution of life.
With "Ancia Elettronica," Andraž Golob and Cristina Mercuri inhabit this very distance: not to erase it, but to cross it. The project is born from the most authentic spirit of the Narrazioni Parallele Festival: to bring together trajectories that seem destined to move separately, and to discover instead that precisely in the gap, the friction, and the mutual listening, a new language can emerge.
With Rapsodia di Terra e di Luna, the voice of Angelica Cathariou, the harp of Maria Elena Bovio, and the bassoon of Alexander Grandal open a sonic gateway toward archaic Greece and even more remote civilizations, forgotten only in appearance. The concert thus becomes a journey between vanished worlds and contemporary sensibility, where the music does not simply reconstruct the ancient, but awakens it as a living matter—fragile and incandescent.
Do we truly see when we see? And what do we see when we believe we are seeing?
Is there perhaps an element of faith, of trust, of surrender, when we seek or think we see? Gaze, eye, sight, vision—seeing is not just seeing: every gaze requires a concealment.
On July 25th, with VENI, VIDI, SO_Il Forte Borgo, the performance focuses on the Village: here, the gaze becomes wandering, contact, and minute life. The houses, the passageways, the openings, and the everyday distances become points of observation.
On July 26th, with VENI, VIDI, SO_Il Borgo Forte, the performance focuses on the Fortress: monumental architecture, stratified memory, a machine made of stone and vision. Here, the gaze takes on another vibration: broader, more vertical, perhaps more restless. Perspective expands, the body measures distance, and the music inhabits cavities, surfaces, and echoes. In the Fortress, seeing means confronting that which looms over, protects, separates, and preserves.
There are places where the earth seems to draw closer to the sky.
Hamlets suspended between memory and the wind, stones that guard voices, mountains that are not merely landscape but destiny, wound, protection, and story.
Rochemolles, a marvelous hamlet of Bardonecchia, is one of these places. Overwhelmed and destroyed by an avalanche in 1706, and struck again in 1961, it carries within its history the mark of an ancient fragility and a stubborn capacity for rebirth.
NPF brings to the Palazzo delle Feste in Bardonecchia an event that is, above all, a meeting of creative visions: "Bri-Boosta".
On stage, two seemingly contrasting artistic personalities come together in a unique sonic journey, where piano, electronics, and percussion become the language of a profound dialogue.
With ESP – Extra Sensory Perception, Cubo Teatro and Benedetta Parisi construct a sensory and interactive experience designed for the Tur d’Amun in Bardonecchia, an archaeological park that holds the remains of the ancient manor castle.
Here, there is no stage to look at: the location itself becomes the stage. The stones, the trajectories, the silences, and the encounters become part of an immersive device where the performance happens, first and foremost, in the mind of the participant.
On one hand, a high-profile orchestra aims to enchant the audience with performances of the most beautiful classical compositions by Mozart, Beethoven, Strauss, and Brahms.
On the other, a gritty showman is searching for his stage to express his talent. A stroke of fate brings the two together. What follows is a tug-of-war fought with music and baton strikes—an exhilarating musical duel featuring surprising and unexpected pop infusions.
There are concerts that begin when the music starts.
And others that seem to arrive from a more ambiguous place: from a dream already in progress, from a mental chamber, from an image that we no longer know whether it belongs to cinema, to memory, or to a gentle nightmare.
