{"id":4445,"date":"2026-03-01T10:00:00","date_gmt":"2026-03-01T09:00:00","guid":{"rendered":"https:\/\/ocarinafestival.org\/?post_type=entroevents&p=4445"},"modified":"2026-04-15T10:48:47","modified_gmt":"2026-04-15T08:48:47","slug":"festival-opening-linganno","status":"publish","type":"entroevents","link":"https:\/\/ocarinafestival.org\/en\/eventi\/festival-opening-linganno\/","title":{"rendered":"Festival Opening \u2013 L’Inganno"},"content":{"rendered":"
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Music by Tiziano Popoli<\/strong>
Text by Renato Billi<\/strong>
Directed by Oderso Rubini<\/strong><\/p>\n\n\n\n

with<\/p>\n\n\n\n

La Toscanini NEXT<\/strong> Orchestra<\/strong>
Tiziano Popoli<\/strong> director
Ocarina Quintet<\/strong> from the Conservatory of Bologna<\/strong>
Emiliano Bernagozzi, Riccardo Biagetti, Leonardo Carbone,
Alberto Ciarrocca, Elisa Zilioli
and the Soloists<\/strong> Lorenzo Speca, Tang Jiusi, Gexing Wang, Yi Zeyu,
Lorenzo Sarinelli, Antonio Tavoni

and Giuseppe Losacco<\/strong>, actor
Masks by Margherita Citran<\/strong>
Costumes by Eva Aremar<\/strong><\/p>\n\n\n\n

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L\u2019Inganno<\/em><\/strong> is a satirical drama freely inspired by El G\u00fceg\u00fcense<\/em><\/strong>, the first literary work of post-Columbian Nicaragua. It is considered one of the most distinctive expressions of the colonial era in Latin America and a folkloric masterpiece typical of Nicaragua. In 2005, it was inscribed by UNESCO on the Representative List of the Intangible Cultural Heritage of Humanity.<\/p>\n\n\n\n

At the heart of L\u2019Inganno<\/em> lies the archetype of creative resistance: the protagonist challenges colonial authority not with force, but with cunning, irony, and double meanings, feigning submission that is, in reality, a mockery. This dynamic recalls the feats of the divine twins of the Popol Vuh<\/em>, who could defeat the lords of the underworld through ingenuity and magic, elevating intelligence as a tool of liberation.<\/p>\n\n\n\n

Today, this work emerges as a powerful symbol of cultural empowerment against global homogenization. It teaches us that wit and mastery of language are true instruments of social survival, capable of reclaiming a mixed identity that refuses to bow to oppressive systems. It embodies the same spirit that animated the theatre of Dario Fo: just as the Nobel-winning Italian jester used grammelot and satire to ridicule power, the G\u00fceg\u00fcense<\/em> uses its mixed dialect to subvert the logic of the oppressor. More than a mere fragment of folklore, the work is a practical manual of nonviolent resistance: a strikingly contemporary testament to how ordinary people can bridge the gap between their everyday reality and the power imposed from above, turning words into a shield and laughter into an act of rebellion. This version of the G\u00fceg\u00fcense<\/em>, suspended between the lyrical song of authority and the popular voice of the streets, represents the essence of modern resistance: a deception that becomes art in order to survive.<\/p>\n\n\n

\n\t\n\t\tBuy your tickets\t<\/a>\n<\/div>\n\n\n\n
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Download here the libretto<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n

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