Commedia, Commedia! Music and Commedia dell'arte

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Anonymous (16th century): Ballodel Gran Duca e Sciolta

Marchetto Cara (c. 1470–1525): Io non compro più speranza, frottola

Filippo Azzaiolo (c. 1535 – c. 1570): Chi passa per 'sta strada

- Anthony Holborne (1545–1602): The Choise

- Gasparo Zanetti (c. 1600–1660): La Mantovana

Giuseppino del Biebo (Biado?) (16th century): Fuggie, fuggi

- Giulio Cesare Barbetta (1540–1603): La Bergamasca

Anonymous (17th century): Passacagliadella vita

Anonymous (16th century): Paduanadel Re

- Adrian Willaert (1490–1562): Vecchie letrose

Clément Janequin (c. 1485–1558): Il estoit une fillette

- Orlando di Lasso (1532–1594): Matona mia cara

- Luis de Narváez (c. 1500 – c. 1555): La Cancion del Emperador

Vincenzo Ruffo (1510–1587): La Gamba in Basso e Soprano, capriccio

- Josquin des Prés (1440–1521): Mille regretz, pavana

Benedetto Ferrari (1597–1681): Amanti io vi so dire

Peregrinus Cesena Veronensis (16th century): Non posso abbandonare

Matthew Locke (c. 1621–1677): Aria

Vincenzo Calestani (1589 – c. 1620): Damigella tutta bella

Accademia Strumentale Italiana was founded in Verona with the aim of reviving the atmosphere of ancient and famous academies that distinguished the pleasure of playing together. The ensemble's repertoire includes instrumental and vocal music ranging from the Renaissance to the Baroque, performed in accordance with strict philological canons, but without compromising the ability to communicate with the present: the musicians of the ensemble are convinced that, although the score is from ancient times, the music is timeless.

A monologue made up of several scenes based on the life of the famous 16th century comedian Francesco Andreini, and his success in the world of theatre, Lorenzo Bassotto outlines the birth, rise and evil happiness of commedie dell'arte, as well as the origins of some of her most famous characters. Through historical jokes and accentuated improvisation, he breathes new life into characters who are now part of contemporary culture, exploring their language and the modernity of their satire. At the same time, Alberto Rasi, along with Elena Bertuzzi and Accademia Strumentale Italiana, embarked on a musical journey through the golden age of theatre forms, performing an exhaustive repertoire of musical genres of the time. The result is a deeply thoughtful and entertaining concert, a show full of poetry and ridicule. The program, following the principles of the language of pantomime, although partly performed in Italian, communicates without difficulty with audiences around the world.