Station 1 reveals the history of absence, rather than the history of presence. Fragments and further fragments are used to narrate moments that indicate the existence of the current and previous epochs. Materials from different periods coexist with audiovisual devices and different types of image, to show us how PortuCale - the city that gave Portugal its name - became Porto.

Mark Bradford (Los Angeles, 1961) is currently acknowledged as one of the names that best defined painting of the last two decades, by creating his own pictorial language to talk about universal themes, such as the distribution of power within societal structures and its impact on the individual or the relationship between art and community engagement. In his work, the social element is given through his choice of materials. Using everyday materials and tools found in hardware stores, Bradford created a unique artistic language. Often referred to as “social abstraction”, his work is rooted on the understanding that all materials and techniques are embedded with a meaning that precedes their artistic utility. His signature style developed out of his experimentation with endpapers, the small, translucent papers used in hairdressers, but he has since experimented with other types of paper, including maps, billboards, film posters, comic books and ‘merchant posters’ advertising predatory services in economically distressed neighbourhoods. Through this rigorously physical approach to the material presence of painting, Bradford has been addressing crucial issues of our time, such as the AIDS epidemic; the misrepresentation and fear of queer and homosexual identity; systemic racism in the United States; and more recently, the Covid-19 crisis.

Ever Archive: The Publications and Publication Projects of Hans-Ulrich Obrist. “Ever Archive: The Publications and Publication Projects of Hans Ulrich Obrist” is an exhibition devoted to the Chicago-based publication archive of curator Hans Ulrich Obrist, who is the Artistic Director at Serpentine Galleries in London. The exhibition comprises a series of modules that address the intertwining of documents and their stories: the people, events and institutions that all played a role in bringing them into being. The exhibition also questions, through metaphor and other representations, the different behaviours of an archive: its fragility and instability, its relationship to other archives, as well as its various historical gaps. A central component of the show is a series of vitrine exhibitions that examine not only the historic architecture of the vitrine and its relationship to the “Wunderkammer”, but also the conceptual possibilities that vitrines impose through their physical constraints. “Ever Archive” also includes a history of the archive itself - an archive of the archive - which documents how it has changed over time in relation to the context of technological tools and human knowledge.

Christina Kubisch is one of today's most celebrated sound artists. After studying painting, flute, piano, musical composition and electronic music, she began, in the 1970s, to work with sound sculptures, installations and electroacoustic compositions that would establish her as a trailblazer artist in the field of Sound Art. In the late 1970s, Christina Kubisch began using the technique of electromagnetic induction in her installations, a device that allows the transmission of sounds between electrical cables and headphones with magnetic coils specially designed by the artist. This system, which Kubisch has been constantly improving both technically and artistically, has been the starting point for numerous sound installations carried out around the world since 1980. It brings together and intersects various aspects of Kubisch's work: a revelation and awareness of the flow of energy and sound that, in an age dominated by technology that surrounds us anytime, anywhere; the proposal of an aesthetic dimension to the sounds transported by electricity and electromagnetism, in compositions that are constituted either by the artist's choices or by the movement of the public, conscious and self-determined; the underlining of our condition as beings connected by much more than what is on the surface, namely by what is invisible and silent. The installation THE GREENHOUSE, 2017 (with a new version for Serralves in 2021), is an example of Kubisch's works that use electromagnetic induction. The public, equipped with headphones, is given access to the soundscape that emerges from the approximately 1,500 meters of suspended cables in the Museum's Contemporary Gallery. When moving in the space, the public will be able to mix the series of natural and electromagnetic sounds that circulate in them. Also in BRUNNENLIEDER [FOUNTAIN SONGS], 2009, natural sounds are fused - either from the Serralves Park where it is installed or from recordings - with musical quotations from vinyl records of Schubert's song “Ein Brunnen vor dem Tore”, (based on a traditional song with the same name), gathered under the sign and sound plasticity of water. SILENCE PROJECT, 2011 – ongoing, focuses on a line of research and artistic practice by Kubisch that addresses the material, conceptual and cultural questions of silence. Based on a collection of recordings of the words that mean “silence” in about seventy languages, the project is divided into two works: one made from the images of sonograms of these words (“Analyzing Silence”, 2011 – ongoing), and another (“Silent Exercises”, 2011 - ) includes a silent video projection where these images merge and a sound installation based on the spatialization of a composition of the recordings of words, which will impose itself on the silence in the tower of the Chapel of the Serralves Villa. In 2010, Christina Kubisch presented a version for the centre of Porto of her well-known “Electrical Walks”, as part of the Trama performing arts festival. Now in 2021, Kubisch will have her first exhibition in Portuguese territory, constituting an opportunity for a closer relationship with this fundamental artist and historical figure in contemporary music and art.

The partnership between Manoel de Oliveira and Agustina Bessa-Luís is one of the most intricate chapters in the already tangled history of film adaptations of literary texts. As all the books are a unique case as affinities and dissimilarities between literature and cinema are concerned and having given rise to unusual accomplishments, the intersections between the works of both authors are crucial for understanding the body of work of each one. Having started in 1981, with the adaptation of the novel “Fanny Owen” (1979) into the film “Francisca”, Oliveira's collaboration with Agustina continued until 2005, with “Espelho Mágico” (Magic Mirror), an adaptation of “A Alma dos Ricos” (2002). In between, there are eight other texts by the writer that inhabit the director's oeuvre, which includes three novels, two dialogues, a play, a short story and a speech read by Agustina herself. In order to think about these relations between literature and cinema, it was useful to bring to the exhibition a wide range of scientific and para-scientific, knowledge and other even more obscure ones, because only these can illuminate a field of ​​knowledge essentially made up of intuitions and paradoxes, inversions of meaning and perplexities. The clash between words and images, between novels and films, calls for other confrontations, which we tried to explore in the exhibition, and opens up an interstitial space, a place of the aesthetic and the symbolic, where all this ancient and modern knowledge is brought into play. The terms of this dialogue are probably the most fruitful partnership of Portuguese arts and letters in the last hundred years.

The Miró Collection, owned by the Portuguese State, on loan to the Municipality of Porto and deposited at the Serralves Foundation, comprises 85 artworks and includes paintings, sculptures, collages, drawings and tapestries by the renowned Catalan artist. The Collection spans six decades of Joan Miró's work, from 1924 to 1981, thus being an excellent introduction to his work and his main artistic concerns. The exhibition follows on from the conclusion of the works of the Serralves Villa’s restoration and adaptation project, by the architect Álvaro Siza, who had the support of the Porto City Council, under the terms of the protocol that defines the conditions for depositing the Miró Collection in Serralves. Joan Miró (1893-1983), one of the great “form-givers” of the 20th century, was simultaneously an aesthetic “assassin” who challenged the traditional limits of the medium in which he worked. In his art, the different practices dialogue with each other, crossing the mediums: painting communicates with drawing; sculpture seduces woven objects; and collages, always conjugations of disparate entities, function as a major principle or matrix for exploring the depths of reality. This exhibition does not follow a chronological or linear format: the works are thematically aggregated, trying to give a holistic view of the artist's career. The various rooms address different aspects of his art: the development of a sign language; the artist's encounter with abstract painting that was done in Europe and America; his interest in the process and the expressive gesture; its complex responses to the social drama of the 1930s; the innovative approach to collage; the impact of Southwest Asian aesthetics on his drawing practice; and, above all, his incessant curiosity about the nature of materials.

What do Lena D’Água, Ana Deus, Anabela Duarte, Manuela Azevedo or Xana have in common? All of them have a place in Portuguese rock history and are a part of a group of 15 women whose musical careers are going to be celebrated in the exhibition, and in a series of side events that are going to take place in the next 6 months. Symbolically inaugurated on March 8th, International Women’s Day, in Casa Comum (Rectory) of the University of Porto, and with free admission. It will be open until 30 September 2022. Organised by Casa Comum and the Institute of Sociology of the University of Porto, this unprecedented exhibition is born with the aim of paying tribute to “relevant women in Portuguese rock”, from post-25 April period until today. To do so, it proposes to tell their stories through records, cassettes, clothes, props, scribbles of lyrics, staves, drumsticks, musical instruments, among other objects that marked their respective careers.

Leonilson was one of the major exponents of a generation of Brazilian artists known as “Geração 80” (80s Generation). After the end of Brazil’s military dictatorship in the mid-1980s, this group of artists celebrated their newly acquired freedom with a gestural, colourful, and expressive style of painting. While American Pop Art appropriated the symbols of a highly industrialized society in the 1980s, the Geração 80s’ art was firmly critical of society. Born in 1957, Leonilson studied art in São Paulo from 1978 to 1981. Apart from Eva Hesse and Blinky Palermo, both of whom he met during his travels in Europe, his first major influence was the Italian transavanguardia movement. Formed in the late 1970s, transavanguardia turned to figuration, ancient mythology, and expressive use of colour. Similarly, Leonilson’s paintings and drawings from this period show an eclectic subjectivism and an emblematic visual language. An exhibition of textiles produced by the Shakers, a Christian American sect, marked a key moment in the artist’s early career. The Shakers’ embroidered maps influenced him greatly and inspired him to embrace textiles as an artistic medium. When Leonilson was diagnosed with AIDS in 1991, his visual language changed significantly: between 1991 and 1993, his work, which resembled a diary, revealed his deteriorating health and showed his concern with death. Towards the end of his life, he was only able to work with needle, thread, and fabric. In this period, language and abstraction, as well as religious, visual and formal language played an important role in Leonilson’s work. The Serralves Museum of Contemporary Art is pleased to present the first major retrospective of the work of the Brazilian artist Leonilson in Portugal. The exhibition presents a selection of over 250 works that encompass a broad range of mediums and styles, from the artist’s early paintings to the introspective embroidery of Leonilson’s last years, providing an overview of his entire oeuvre.

Artist and electro-acoustic composer Tarek Atoui works on large-scale compositions that stem from anthropological, ethnological, musicological, and technical research. His exhibitions weave installations, performances, and educations, in processes that move away from the conventional notion of performance, both for the performer and the audience, and that suggest forms of visual, aural, tactile, and somatic experience of sound. This first exhibition in Portugal is part of the project I/E, ongoing since 2015, in which Atoui captures the sounds of port cities — Athens, Abu Dhabi, Singapore, Beirut or Porto - by recording their harbours’ industrial, human, and ecological activities. Together with artist/recordist Eric La Casa, they listen to sound below the surface of the sea or within materials such as metal, stone, and wood. On Waters’ Witness, the audio recordings of the seaports of Athens, Abu Dhabi and Porto are played through materials chosen in every location — marble stones from Athens, steel beams from Abu Dhabi, and wooden structures housing compost, worms and organic material specifically produced for the Serralves presentation. The work with organic decomposing matter takes Waters’ Witness in a new direction: an acoustic ecology that receives and perpetuates residual sounds through the audible frontiers of a world in flux. This unique soundscape extends from the museum’s central room to the park in the shape of sound constellations, platforms and systems activated through the entire period of the exhibition in scheduled performances, collaborative and educational workshops.

“Ajax et plures” presents a set of works by João Paulo Feliciano from the 1990s and 2000s belonging to the Serralves collection and a never-seen-before work conceived for the campus of Universidade Católica Portuguesa in Porto. The works presented are representative of different moments in the artist’s career, revealing the continuities and ruptures that have marked his artistic practice over the last thirty years. If the works of the 1990s revolve around the world of rock music and urban reality, the works of 2004 and 2021 show an interest in exploring perceptual phenomena and allow us to distinguish a turning point in the relationship (of fascination/rejection) with technology. There is a constant questioning of the material and linguistic mediums that the artist uses as a way of rethinking our relationship with the world, questioning assumptions of traditional artistic genres in the light of different aspects of folk culture. His ironic and provocative attitude, his desire to involve the spectator in the work’s meaning and, above all, his insatiable appetite for experimentation reveals to be transversal to João Paulo Feliciano’s diverse body of work. The works are presented in different spaces of the UCP – Porto campus, at the Edifício das Artes and the Edifício de Restauro.

From Tuesday to Friday, at 12:30PM, the monitors of the Museu da Cidade guide tours lasting 30 minutes, upon purchase of a ticket.

"Porto Legends: The Underground Experience" is an audiovisual event that will introduce ten legends related to the history of Porto. The show will be screened at Furnas (underground) of Alfândega do Porto. The latest creation by the Portuguese studio OCUBO, specialist in video mapping projects, debuts at Furnas of Alfândega do Porto. Through an immersive experience, the show will reveal ten legends related to the history of Porto, inspired by the book of historian Joel Cleto, "As Lendas do Porto". The Porto Legends - The Underground Experience project had 70 actors, 120 costumes and 30 video artists, using 50 high definition video projectors, strategically installed on the walls, floors, ceilings, columns and arches of Furnas of Alfândega do Porto. The ten legends that make up the show are narrated by Pedro Abrunhosa, in the Portuguese version, and the award-winning British actor Jeremy Irons, in the English version. Over 45 minutes, legends will be told such as Pedro Cem, Zé do Telhado, Baron Forrester, the famous Porto-style tripes, the mystery of Serra do Pilar’s Treasure; the violent siege of Porto, the 1755 earthquake and the ghost of São Bento Train Station. The public is invited to move about freely during the show, in an unprecedented 360º worldwide experience. Porto.CARD - NOT TO BE MISSED! Enjoy Porto.CARD and have discounts on tickets: Full ticket: 2€ discount / Pack of Two exhibitions: 3€ discount Reduced ticket: 1€ discount /Pack of Two exhibitions: 1.50€ discount

Frida Kahlo, The Life of an Icon is an immersive biography that takes you on a journey through the life of one of the most influential artists of all time. In this multimedia creation, among historical photographs and original movies, you are guided throughout different sound and artistic environments that reproduce relevant life moments of Kahlo, showing the story behind the icon. This experience is divided into two distinct stages. In the first one, you are invited to walk by several artistic installations, where you can experience virtual reality and create your own customized Frida model. In the second one, you will be immersed in a 360º audiovisual show displaying some of the most unique moments from the artist’s personal life. Frida Kahlo remains an iconic figure of our modern society. Her life, rebellious spirit and talent still inspire women of all ages due to her strong, one of a kind and way ahead of her time personality. The immersive biography of Frida Kahlo is presented without any reproductions of her artistic work with the aim of highlighting her personal life story.

The role of women, which for centuries was limited to the home or to monastic seclusion, took on a new prominence in the late 19th century and early 20th century when many paradigms were called into question, namely the emancipation of women and their involvement in various fields and activities of social life. The political and social changes that followed the Second World War allowed profound transformations, namely the rejection of the stereotype of women as weak, passive and dependent beings. From the end of the 1970s, women's art - and women photographers in particular - began to be interpreted and valued, not only as an expression of uniqueness but also as a tool for deconstructing the "male gaze". In order to show this evolution, we highlight the social concerns of Doris Ulmann who portrayed African American workers in the plantations of southern USA or Edith Tudor Hart who, as a disciple of Bahaus, aimed to give art back a social mission. With World War II, Margaret Bourke-White appears as the first female war correspondent, while Sabine Weiss Weber, in the 1950s, was considered the Grand Lady of humanist photography. In 1960, Vieira da Silva was portrayed by the Russian Ida Kar, who never managed to integrate into the increasingly commercial photographic environment of the 1960s. At the end of the century the range of women's photography widened: in the 1990s, we had Cristina Garcia Rodero's photographic record of Catholic gypsies, while, at the same time, the theatricality of the pictures by the poet-photographer Flor Garduño emerged. In Portugal, Helena Almeida, one of the most prominent visual artists of the second half of the twentieth century, created a body of work that crosses disciplinary boundaries and questions the relationships between body, work and space. This exhibition thus aims to pay tribute to the female photographers represented in the National Photography Collection (Coleção Nacional de Fotografia - Portugal), whose solo works have contributed to the excellence of photographic narrative and have broken with the preconceived concepts of a male-dominated profession.

This group exhibition shows painting, sculpture, ceramics, artists’ books and independent designer pieces. You can admire works of various sizes, with diverse plastic expressions, in various mediums and with various languages, with or without titles. There are unique independent designer pieces for gifts on special days. Those who wish to buy and take some pieces may do so on the day of the visit. The artists may exhibit new works.

“Look at me and look at you.” Gil Vicente remains, now and always, inhabitable by all of us, who live five hundred years later. Master Gil, we are told, is a “living text” that allows us to look at ourselves and dream. Filled with Gil Vicente visions other visions, stage director João Pedro Vaz invites us to wander through the “Floresta de Enganos” [Forest of Deceits], originally performed in the “year of Our Lord 1536”. In Vicente’s final comedy, we are immediately confronted by a philosopher who has a Fool tied to his foot, the most enigmatic pair in all of Vicente’s work. The philosopher announces all the figures who will be deceived by love: a merchant, a man in widow’s weeds, a young girl, Cupid, Apollo, king Telebano, princess Grata Célia, judge Justiça Maior, and even a shepherd, linked by chains of love to something he cannot guess. Finally, a pilgrim named Ventura comes to solve this love-en-abîme. “All this takes place in the forest, which has always been the locus par excellence of idyll and deceit, of transformation through love; in other words, of the theatre. Like in a (Gil Vicente) midsummer night’s dream”, the stage director warns us. “Look at me and look at you”: such is the last line in the self-penned epitaph of the one who was called “the most Angelic and Demonic of all Portuguese poets”.

The novelist and playwright Peter Weiss is the author of one of the most seminal works of German literature, “The Aesthetics of Resistance” (1975-81). Rui Pina Coelho draws freely from that book to create a play of the same title, performed by Teatro Experimental do Porto and directed by Gonçalo Amorim. Weiss describes the journey of three young German Communist working-class men, from 1937 to the beginning of World War 2, through their meetings in museums and art galleries. Their musings on painting, sculpture and literature are a form of opposition to the Nazi regime and a search for affinities between political resistance and art. Everything begins with an absence: while looking at the frieze in the Pergamon Museum in Berlin, the young men notice that the god Heracles is missing and start imagining a human replacement for him, a herald of the oppressed and exploited, to whom Rui Pina Coelho lends a voice: “I have become used to thinking that artistic creation devoid of truth has little reason to exist.” This show brings that search for meaning to the present day, in the form of a litany about art and politics, truth and camaraderie.

Marco Martins proposes in SELVAGEM (WILD) a reflection on the use of the mask in ritualistic practices that, since time immemorial, collectively mark crucial moments in Europe, such as the equinoxes and solstices, contemplating characters such as the Wild Man, the Bear, the Goat or the Devil. We are increasingly a society of masks that hide behind a virtual world. What is the current meaning of a mask? How can living with the sanitary mask transform each person's activity, activism and identity? We live in a society full of avatars, caricatures, memes, apps that enable you to transform both face and body and various types of filters capable of blurring the line between faces and masks. Based on the investigation of the ancestral meaning of the mask, SELVAGEM will map its value as an identity possibility, as well as the complexity inherent to the multiplication and intersection of identities.

The city of Porto, a beautiful Baroque city, capital of northern Portugal, overlooking the Douro River and considered one of the "European Best Destinations", has been hosting one of the most prestigious film festivals in the world for 42 years. Held annually since 1981, there are always ten days to celebrate cinema and, where the world of cinema and a loyal audience merge into a multifaceted programme, with an emphasis on fantastic cinema. It's no wonder that alongside a horror film, an intimate drama, documentary and auteur film are screened. There are 6 sections, four of them competitive and that "feed" off the latest world productions from about 50 countries per year and that bring to Porto a total of 100 to 150 films, between short and feature films, and all of them premiering in Portugal.

"Ballet Concerto 22", is a ballet with two separate moments, which represents the consolidation of artistic work in dance, singing and music by great composers such as Bach and Händel. The first part consists of a concert class, where the dancers will have the opportunity to show the complete barre exercise sequence of a classical ballet class. This concert class will be accompanied by pianist Marta Sousa. This part ends with a Grand Final choreography with music from “La Gioconda- The Dance of the Hours”. In the second part, we will feature the versatility of a dancer with the presentation of original choreographies and also excerpts from the Classical Repertoire, where we will show the various dance techniques: Classical, Neoclassical and Contemporary. In this repertoire, we will present the following choreographies: “Coppelia: Waltz of the Hours”, “Pas de Trois La Bayadère, “The Pharaoh’s Daughter”, “Dance of the Dolls”, “The Ocean and Pearls”, “Dance of the Friends: Sleeping Beauty”, “Paquita Variation”, “The Fairy Doll”, “Cupid Variation”, “Bach”, “Dawn Variation”, “Lascia Ch’io Pianga”, “You Will be Found”, “Lovely”, “Fight”, “Unsteady” and “Quartet”.

One of the most iconic fairs in the city, it is exclusively to sell used objects, namely clothes, crockery, furniture and decorative items, records, books, electrical and / or electronic appliances, household items and working tools. Location: Avenida 25 de abril

Whoever visits Praça de Carlos Alberto will find one of the first street markets to appear in the city, with a wide range of items: vinyl records, illustrations, notebooks and books, natural cosmetics, jewellery, honey and fresh pasta, teas and herbs, ceramics, wooden toys or decorative items.  The market, with free access, always has ambient music and even a small comfort space for visitors to relax.  As the event takes place outdoors, it always depends on favourable weather conditions.

União das Freguesias de Aldoar Foz do Douro e Nevogilde, is committed to enliven public spaces and creating visibility to the body of work by local artisans and some regional gastronomic products, says Mercado do Molhe. The Market is run by a group of mostly local artisans who aim to promote their activity: handicrafts in their most diverse forms, jewellery, clothing, fashion accessories, regional gastronomic products and gastronomy (only one of the stalls will sell artisan ice cream).

As Canções da Maria, a children's project created by Maria de Vasconcelos with the aim of showing children that learning can be fun, will premiere at Coliseu Porto. During the performance Maria, Mathias, Mathilde and Manon will show various songs, poems, nursery rhymes and many fun facts, while speaking about school themes as interesting as the History of Portugal or the fundamentals of mathematics. This project was born by the hand of Maria de Vasconcelos, after realising that her two daughters Mathilde and Manon reacted in a very positive way to school subjects via the interaction with music. The association was immediate, Maria has always been seen with her guitar on her back, making songs was natural to her, but it was when she saw her daughters enter school that she started composing songs about the subjects so that they could play at the same time they learned more easily. This way, Maria understood that she had found a didactic way of showing children, parents, grandparents, educators and teachers, that everything is easier by singing. As Canções da Maria, which have three CD + DVD + Book with illustrations by Nuno Markl, now arrive at the big stage of Coliseu, with an absolutely brilliant performance designed to win over both children and adults. No one will be indifferent.

Classes take place every Monday and Thursday, between 5.30pm and 7.30pm, and every Saturday and Sunday, between 10 am and 12 pm, at the Skate Park in Ramalde. Each class brings together two teachers and a maximum of 20 students simultaneously, and each participant should preferably bring their own equipment (board and protective gear). The municipal company Ágora supplies the board and helmet to those who need it, and the sharing of equipment between students is forbidden. Enrolment in classes is mandatory every week, and those interested should send an email to desporto@agoraporto.pt, with their name, age (must be over six and under 60 years old) and the day they intend to take the skateboarding class. Each user can register a maximum of two lessons per week.

The tetralogy “The Ring of the Nibelung” embodied the revolutionary musical thinking of Richard Wagner. In it, the composer and librettist developed a particular and deeply individual model of performance. Narrating a story inspired by Norse mythology, the orchestra follows the heroes and villains, translating and complementing the narrative with a special sound approach. This concert is a journey through moments of this great work from the 19th century repertoire, capturing the varied and pioneering spirit of Richard Wagner. The romantic imagination was condensed into one of the greatest projects of a truly innovative artist. After this, music, poetry, scenography, costumes and the architecture of opera theatres were never the same.

Spontaneous and popular fair where you can buy birds, food and cages. Even if you do not want to buy anything, you can enjoy the singing birds, their colour and the liveliness of the fair. When passing through the fair, one must take a look at the breath-taking view of the Douro River and its bridges.

A gathering place for various collectors, this fair has as purpose the sale and exchange of coins, postcards, stamps and other related collectibles. It takes place under the arcades of the buildings surrounding the square.

With many years of existence, this fair is already a sociocultural tradition. It is very sought-after, both by the residents of Bairro da Pasteleira and by the general population. Various products are sold here, namely food, clothing, footwear and home textiles. Location: Rua Bartolomeu Velho

Better than a story is two stories told and sang by Indy in performing sessions, full of magical elements, knowledge and socialisation of “Música com Dragõezinhos, o Espetáculo”! Easter is almost here and with it there is always the time to celebrate with family, but Recycling is also for everyone on a daily basis!

This show, in which Rodrigo Leão presents himself as Rodrigo Leão cinema project, brings together repertoire from the three albums released in 2020 and 2021 (“O Método”, “Avis 2020” and “A Estranha Beleza da Vida”), as well as a selection of the composer's classic songs. It is, therefore, quite eclectic, with a wide range of musical styles ranging from neoclassical to waltz. On stage, Rodrigo Leão (synth and piano and backing vocals) is accompanied by his usual band: Ângela Silva (vocals, synth and metallophone), Viviena Tupikova (vocals, violin and piano), Carlos Tony Gomes (cello) and João Eleutério (guitar, bass, synth, percussion, Indian harmonium and backing vocals). In many concerts, a local youth choir joins the band, performing, among others, the choral parts recorded on the album “O Método”. The video projected on stage by Gonçalo Santos, which include drawings by Rodrigo Leão, are also worth mentioning.

The mastery of Grigory Sokolov, with an almost ascetic view of music, is back at Sala Suggia in a recital where Romanticism prevails. The fifteen variations that open the recital are a true masterpiece, with a wide range of piano resources on one of Beethoven's favourite forms - the theme and variations, in which he could give free rein to the enormous improvising ease he was recognised for. The basis is a melody by the composer himself that would later be part of his Third Symphony, “Eroica”. The free spirit of sensitivity is unleashed in Robert Schumann's “Kreisleriana”. Inspired by the works of E. T. A. Hoffmann, it presents the composer's aesthetic in an essential work that masterfully captures the expressiveness of the moment. In between, is the famous set of three Intermezzi op. 117 by Brahms, a perfect manifestation of the subjectivity of the romantic creator under the inspiration of poetic texts. He himself called them the “three lullabies for my sorrows”.

RUA DAS PRETAS ARRIVES TO THE COLISEU PORTO AGEAS. Rua Das Pretas — a Portuguese-speaking collective created and led by Pierre Aderne, lands at Coliseu Porto Ageas on January in Circus format. Bringing near the artists part of the audience onto the stage "ring" to be part of the show and toast with a glass of wine in hand. On a night with some lovely and special guests, surprises, music sung and told, a stunning setting and wine to celebrate.

“So Far So Fading”, the new album of :PAPERCUTZ, is a result of an encounter between Bruno Miguel (producer and composer) and Bruno Ferreira (orchestrator). The premiere takes place at Casa da Música and reveals one of the most ambitious projects by Bruno Miguel, conceived between Porto, with the words of Daniel Jonas (Grand Prize for Literature) and Reykjavik, with the touch of Francesco Fabris (engineer in charge of soundtracks for movies and tv series that have won Oscars and Golden Globes). The concert is enriched with the projection of original footage by Vasco Mendes, director of documentaries, fictions and music videos who has injected his multi-coloured visual language in several Portuguese musical projects.

METAMORFOSES focuses on the profusion and the process of integration of the imaginary and the vegetal, mineral and animal themes in a romantic domestic space, bringing to the halls of the house of Quinta da Macieirinha several pieces, some previously exhibited in the former Romantic Museum and other spaces of Museu da Cidade, others never exhibited, showing the unquestionable quality and diversity of the municipal collections. This exhibition also marks the beginning of the evocation of the centenary of the death of Porto artist, Aurélia de Souza, a key moment of the 2022/2023 programme. The celebrated self-portrait of the artist as “Santo António” (Saint Anthony), made around 1902, will be part of the new collection that brings together paintings, furniture, tapestries and textiles, ceramics, crockery and silverware, as well as other surprising sections of the collection, such as sets of fans, cut-out papers and malacology.

Suzana is one of the greatest voices of Portuguese music. Her versatility and involvement give the songs she performs an irresistible trait that leaves everyone in awe. 20 years went by as her career was built step by step. After 11 albums released, countless awards and prizes, featuring in countless compilations albums and various collaborations with artists such as Filipa Lemos (Santamaria), Tony Carreira and Leandro. A journey of two decades that has had an impact in the Portuguese communities spread all over the world, having also stepped on some of the largest Portuguese stages. Due to what we are currently experiencing, this show’s direction has changed a bit. The commemoration of this 20-year-old career was also changed given Suzana’s involvement in noble causes. Thus, to help those who need it most, all proceeds from this concert will be donated to the children of Ukraine, through UNICEF Portugal. It's going to be a night of sharing, where we need to come together as one!

With the tradition of Palm Day inspiring children and adults alike, let's give free rein to imagination and creativity in this fun and educational workshop. Each participant will create their own bouquet to give to their godparents during this Easter season. Drawing, painting, cutting, pasting and a few special and magical techniques are all part of this activity, perfect for sharing joy and affection as a family!

Banned from liturgy by the Council of Trent and only readmitted in 1727, the hymn “Stabat Mater Dolorosa” is based on the perspective of Mary, a mother who watches helplessly as her son experiences the last hours of his life. Despite the ban, the depth and strength of the text appealed to several generations of composers. Accompanied by Anna Dennis and Owen Willets, both widely praised in the universe of early music, Orquestra Barroca shows us the visions of the French Marc-Antoine Charpentier and the Italian Alessandro Scarlatti on the poignant and dramatic text, in what will certainly be one of the most emotional moments of the season. The concert begins with the music of Zelenka, a Bohemian Baroque composer influenced precisely by the French and Italian styles.

Alfândega do Porto will be transformed into a real time machine where you can go back a few thousand years. The “Dinosauria Experience” goes back to the end of the Cretaceous period, something like 66 million years ago, and will give visitors the opportunity to walk among dinosaurs. The “Dinosauria Experience” is an exhibition of animatronic dinosaurs, that is, robotic devices that simulate the appearance and behaviour of extinct dinosaurs. From their roar to their appearance, the goal is to recreate a real Jurassic adventure. Visitors will be able to see replicas of dinosaur species such as Tyrannosaurus (T-Rex); Triceratops; Stegosaurus; Ankylosaurus; Pachycephalosaurus; Iguanodon; Protoceratops; Ornithomimus; Brontosaurus; Baryonyx; Deinonychus; Dilophosaurus; Diplodocus; Saltasaurus; Velociraptor; Maiasaura; Spinosaurus; Corythosaurus; Ceratosaurus and Pterosauria. The exhibition also has information panels with scientific details about different geologic eras, theories about the extinction of dinosaurs and data about the recovery of fossils. The little ones can also have the experience of being palaeontologists for a few hours.

Is fado-fate the spiritual matter that dictates the meeting of these three unique creative personalities? Is this art, born spontaneously in the low-income quarters of Lisbon, the essential spice of our passage through life? Expression of freedom and intervention, Fado finds in theatre a fraternal ally that helps it to define itself in two complementary forms: sung Fado and spoken Fado. The fusion between the voice of all the colours of Hélder Moutinho and the emotions filled with words, delicately spoken by Maria João Luís, catalyse the unique poetry of João Monge, and open the gates back to a pure and ancestral approach: the fado of truth. And it is from here that the glided flight of this show takes off, based on the opposite of all intellectualities, because this is the time to suppress disposable culture, to leave room to the sublime, to the enchanting spell of a transcendent poetic intuition. “A Voz e a Alma” unites Fado with theatre, in a form of spreading poetry and Portuguese literature, where, in addition to the scenography, lighting and sound design, acting is also added. This opens a window so that other way of making theatre or making Fado can be created, since both are united by the form of expression in relation to the interpretation of poetry. A partnership with HM Música and Teatro da Terra, not to be missed, on 14 April.

On Good Friday, Messa da Requiem by Giuseppe Verdi is celebrated, a magnificent work dedicated to death, where fear, absolution, peace and uncertainty are painted in a world as human as it is divine. Conducted by José Manuel Pinheiro, this Portuguese production brings together on stage the Ensemble Vocal Pro Musica, Coro Sinfónico Inês de Castro and Orquestra do Atlântico. Premiered in May 1874, in Milan, this Requiem was created from the overcoming of an unsuccessful attempt of cooperation among 12 Italian composers in order to honour the composer Gioachino Rossini, who died in 1868. Verdi had done his part in this partnership, composing “Libera me”, but the project would not bear fruit. Nevertheless, Verdi’s desire to compose a sacred work did not cease: with the death of the influential Italian poet Alessandro Manzoni in 1873, Verdi found the excuse for his own complete and solely composition, taking the already composed “Libera me” as a starting point.

The best Andrew Lloyd Webber songs like you have never seen before! Experience this unique and exclusive candlelit concert that combines the elegance of classical music with romance and mystery. Led by an Orchestra and in the imposing Porto Palácio Hotel & Spa, you can delight yourself in a collection of some of the most beautiful songs of musical theatre, from three of Andrew Lloyd Webber’s best-loved musicals. You will feel like you’re living a magical moment!

On the International Day for Monuments and Sites, with the theme “Heritage and Climate” in 2022, the Education Service of FC Porto Museum follows the Artistic Footprint of Dragão, conducting this themed visit keeping in mind the club’s importance in cultural, social and tourism development. The Valquíria Dragão (Museum) and the sculpture Sobre Chamas (Stadium) are two of several creations made exclusively for FC Porto and that can be discovered in the blue and white universe of Dragão Stadium and Dragão Arena. Joana Vasconcelos, Alberto Carneiro, Rigo 23, Gémeo Luís, Mr. Dheo and Hazul Luzah are household names in this artistic centrality of the city. The visit also follows the architectural stroke of Manuel Salgado, creator of the stadium and sports hall. Participation is free, but subject to Tour FC Porto ticket holders and maximum capacity, so prior registration is advised.

Rodrigo Amarante returns to Portugal to present his new album “Drama”, successor to “Cavalo”, his debut solo work that in 2014 established him as one of the most important artists in Brazilian music. Amarante deeply marked an entire generation in his country as one of the leaders of the group Los Hermanos and as a founding member of the samba supergroup Orquestra Imperial, alongside Seu Jorge and Moreno Veloso. The recognition in his country was followed by international recognition, thanks to the Little Joy project, which he formed with the Strokes’ drummer, collaborations with Devendra Banhart and to having written the opening song of the world acclaimed television series Narcos.

Musician and composer Orlando Barreto, more commonly known as Pantera [Panther], was born in the Island of Santiago, Cape Verde, in 1967, and died at the age of 33. His daughter Darlene, who was only 6 years old when her father passed away, has been carrying out deep research on his life and work. It was within this framework that she challenged us to pay him a tribute. Pantera opened new paths for his country’s music. In his voice, there was the heartbeat of Cape Verde and its people. Exploring traditional ways, he made a poetry full of love, insight and assertiveness sprout. We are able to find our own vision over those features through the experiences we shared with him as a friend and as an artist. Aside from the reencounter as we revive his creativity and affection, we follow an exploration path, plunging into his land, costumes and culture, always projecting them into a contemporary world where he also placed himself. This is thus a performance that is built upon the wanderings of memory. And above all it is an intense and dynamic collaboration experience. Each of the performers establishes a personal relation as one remembers one’s own experience and gives us back a creative wealth that translates into the value and meaning of this tribute. Between what remains to be done and what will remain to be said, this is our message to Pantera. — Clara Andermatt & João Lucas

BANKSY: Genius or Vandal? brings us closer to the controversial artistic world of one of the most influential creators in recent years, featuring more than 70 works organised into various thematic sections. The exhibition includes original works, sculptures, installations, videos and photographs. The works, from private collections and with the collaboration of Lilley Fine Art/Contemporary Art Gallery will be exhibited in Portugal again, for the first time in Porto. An impressive audio-visual installation especially created for this exhibition greets visitors on arrival, revealing clues about this mysterious artist, highlighting his most important pieces and framing his unusual career, fraught with controversy. Amongst the most widely recognised works in the show is the original silkscreen of the “Girl with Balloon” series, similar to the one recently destroyed by the artist in an unprecedented action at Sotheby’s, London auction house.

In this solo, Matija Ferlin embraces the spirit of Johann Sebastian Bach’s “St. Matthew Passion”. The title, translated from Croatian, means “Now I am Matthew”. In a collaboration with playwright Goran Ferčec, the play is about death, suffering, temptation, carnality, the relationship between the individual and society, betrayal and forgiveness, using personal narratives and a metaphysical exploration of the complicated and harrowing deaths in Ferlin’s family. The challenging dialogue that unfolds is one of simple beauty: between a person of the 21st century and a highpoint of Protestant sacred music; between a straining body and a canonical funeral ritual; and between the individual and civilisation. Ferlin’s precise vocabulary of movement pushes the double meaning of the word “passion” to its limits. Caught between pain and passion, he exposes the audience and himself to the supremacy of music.

Choreographer Né Barros continues her research on the landscape and on the body as landscape in “Neve” [Snow], a multidisciplinary fiction where affection is extended to landscapes and places. Part of “Paisagens, Máquinas e Animais” [Landscapes, Machines and Animals], a series that began in 2019 with “IO”, this play intertwines music, film and architecture, poetically exploring memory, change and the cyclical passage from one state to another. “Neve” is a place, a layer, where circulation through the three dimensions – Landscapes, Machines and Animals – generates vanishing points that enrich our humanity and open new ways to approach the dancing body. This “body-in-gesture” remains the subject of Né Barros’ attention, always focused on the survival of the gesture and on the conquest of a narrative space: “What will happen to that body over there, all alone in that empty space?”

Mauricio Kagel has transformed the role of musicians in contemporary art. His works, which are difficult to categorise, expanded the scope of action of those involved. Based in Cologne in the late 1950s, Kagel assimilated the post-serial models of the time, transforming them and creating his own style. “Hallelujah” is one of his most important choral works, exploring both voice and body in a vibrant way. Within the scope of the Greatest Double Concertos, we will present a work by Jean Barraqué for clarinet, vibraphone and ensemble that highlights the soloists’ shyness against the affirmative and emphatic writing of the ensemble. If Barraqué is positioned in the wake of integral serialism, the traditional musical practices of Bosnia-Herzegovina and Northern Macedonia set the tone for Vinko Globokar. The reminiscence of how melodies and timbres intertwine boosts the free exploration of sounds, in an avant-garde work rooted in tradition.

The “Música e Revolução” (Music and Revolution) cycle revisits May 1968 in a series of concerts that reflect the various aesthetics of the period. The breaking down of political, social, cultural and sexual barriers had a strong impact on the arts. Thus, the cycle intends to provide an overview of the musical heterogeneity of that exciting period. Comprising works exclusively written in that year, it follows a winding path between styles, composers and contexts. From classical music to improvisation contexts, through structuralism influenced by serial models centred in Darmstadt, “Música & Revolução” shows the non-alignment of works and composers at a time when poetry was in the streets. Protest, freedom and heterodoxy in a journey without a passport through the music of the second half of the 20th century.

Alphaville, one of the álbum groups of the 80s, is back to Portugal. Those responsible for hits such as “Big In Japan”, “Forever Young” and “Sounds Like A Melody”, will once again go on the stage of Coliseu Porto Ageas. Marion Gold’s German group is an 80s icon, they made their debut with the album “Forever Young” from which three singles reached the Top 20 in various countries. They sold more than 2 million records in one of the most auspicious debuts ever for European pop, while reaching number one on the Billboard dance chart in the United States. Truly epic songs, easy to sing and dance to, that invaded radio stations and dancefloors all over the world put Alphaville on the circuit of the great world tours of electronic music alongside other great bands of the 80s. In April 2022, Alphaville will return to Portugal. On stage, the classic line-up: bass, drums, guitar, keys and vocals. The voice belongs to the unmistakable Marion Gold, who takes the stage on April 22nd at Coliseu Porto Ageas, bringing with him the greatest hits of one of the biggest international pop bands of the 80s.

How can we stay in motion when a country’s socio-political situation seems to put everything on hold, when persecution and hatred seem to divide, to suffocate freedom and solidarity, equality and democracy? A new resistance is gradually emerging within the Brazilian artistic scene after Jair Bolsonaro took office. Bruno Beltrão was not surprised by the radical turn to the right-wing in Brazil and elsewhere. His previous work, Inoah, already seemed to mediate unbreakable conflicts and violent social contradictions in a nearly supplicant fashion, like a street battle between encounter and confrontation. Beltrão revolutionised hip-hop, balancing street dance styles and attitudes and the foundations of contemporary dance. His intense choreographies with Grupo de Rua stand out for their physical strength and analytical understanding of music and space.

Origens 2.0 is the new album project by Paula Fernandes that also gives name to the artist's new show, which will be presented on 23 April 2022, at Super Bock Arena - Pavilhão Rosa Mota. Paula Fernandes presents us a touching and lively repertoire. In addition to some unreleased songs, this concert includes reinterpretations of her greatest hits, revealing a looser and more confident Paula. It will be a performance that promises an atmosphere full of sensations, emotions and lots of vibes, also from the audience, who will certainly feel the beat of a whole language that recreates the origins of the artist, who has become a leading artist within the "sertanejo" segment and one of the main Brazilian artists of today.

In 2022 the most popular vintage swing & rock'n'roll band of the Iberian Peninsula, The LUCKY DUCKIES, celebrates its 35th Anniversary with a very special tour. They emerged in 1987 in Greater Lisbon by the hand of vocalist Marco António, founder and leader of the group, and gradually catapulted onto charismatic stages in Portugal and beyond. The highlight of this tour will be their concerts at the two Coliseus: Porto and Lisbon, as they are two of the few venues where the classic glamour of yesteryear is preserved, combined with their retro look and vintage musicality. From very early on they began to receive invitations to perform on television. In the second half of their career, they started recording new arrangements of classics and some original songs with an intentionally old sound, but very stereophonic. One of the tracks they recorded, a new version of a Neapolitan classic "Tu Vuò Fà L'Americano", has already surpassed 4 million views, becoming one of the band's most famous songs. It's easy to understand who they take inspiration from when we listen to artists such as The Rat Pack (Frank Sinatra, Dean Martin e Sammy Davis Jr.), Elvis Presley, Nat King Cole, Louis Prima, Jerry Lee Lewis, Fats Domino, Chuck Berry, Cliff Richard, Paul Anka, Bing Crosby, Al Jolson, Peggy Lee, Ella Fitzgerald, Louis Armstrong, Doris Day, Connie Francis, Bobby Darin, Tony Bennett, Dick Farney, Carmen Miranda, Amália, Tony de Matos, Marino Marini, Renato Carosone, Françoise Hardy and many more. However, lately they have been bringing new original and unreleased songs to the music scene. The single "Viva A Cerveja" is currently an anthem adopted by the Beer Brewers of Portugal. "Lisboa Sunset" is a new song offered by the prestigious lyricist and composer Nuno Nazareth Fernandes, a true painting in the shape of a song about the light of our capital city.

“miramar” is like the name of a promise, one that you can sense from the window of an old-fashioned hotel. It’s a promise that haunts Caspar David Friedrich’s “The Monk by the Sea” and is rooted in saudade songs (songs of longing). As light arcs and reflects about the stage in a machine-like ballet, a first dancer emerges to inscribe the space, his body held fast to a vantage point. Ten dancers, characters in search of new horizons, join him. Drawn to his gaze, they form the flow that connects and separates him from the power beyond our sight. Yet, between the dancer’s watchful eye from his fixed vantage point and the endless line of the horizon, what can we see? Longing, emptiness or hope from afar, from “over there” or “elsewhere”? Following on from “Une Maison” and “En son lieu”, the choreography combines the invisible with physical shapes and forms. The figures are halfway between the past and the future, each with separate perspectives shifting, perhaps, to a common yearning.

The iconic band returns to Portugal after an unforgettable acoustic concert in Lisbon and Porto in May 2016. History promises to repeat itself, but now it has stronger excuse: four decades, 21 released albums and millions of fans all over the world. Without losing its purest essence, Jim Kerr and Charlie Burchill promise a superb performance, full of nostalgia, but also full of modernity. About this return to the stage, Jim Kerr, the band’s leader, emphasises “I’m grateful for the career we've had, but I’m mad enough to think we can still hit new levels. This is what we do: write, record and play live”. Maybe it’s because of this way of being and feeling the music that Simple Minds entered the list of the 100 most influential bands in the world, alongside bands like Radiohead, Primal Scream, Manic Street Preacher or The Killers. The ingredients for two more unique shows have been assembled. The band is eager to surprise the Portuguese crowd with two concerts that promise to make history.

On April 25th a bank holiday, creative freedom will be on the loose in an open workshop perfect for families! We are sure to have good news about this activity: the idea is for each child to make a newspaper, but also to understand what life was like in the country’s censor-controlled media before the Carnation Revolution in 1974. History and creativity come together in an educational and fun event for all ages and with the trademark of the FC Porto Museum’s Education Service.

With a career of nearly three decades that began with his debut album “Spirit Dance”, Nitin Sawhney continues to reflect on the present and the future on his latest album, with the self-explanatory title “Immigrants”. Released in 2021 by Sony Music Masterworks, it features the collaboration of several artists who identify as immigrants, who are children of immigrants or who want to support the cause of those who are displaced in the world. Fighting a growing negative representation that contradicts the historical benefits of migrations to Europe, North America and Australasia, Sawhney uses his emotional expression to convey a noble and urgent idea. A must-see performance by one of the most fundamental artists of his generation.

Part of the annual programme of Serralves Park, this exhibition presents two works by the artist Gil Delindro, “Fictional Forest” and “Burned Cork – Resilience”, where the material and cultural conditions that are imposed on the life (and death) of trees and forests are presented as key and symbolic of a complex dialectic between conceptions of the “natural” and the “human”. The exhibition seeks to express the relationship built between the artistic process and science, an opportunity for dialogue on sustainability, featuring poetry. Part of this process is the construction of new identities of the spaces, imagined and/or built of the Park, unique resources that challenge the educational community to activate the response to the environmental emergency. Gil Delindro (1989, Portugal) is a sound and visual artist with international recognition for his environmental site-specific research, namely on challenging places and landscapes, isolated communities, often subject to extreme geological and climatic conditions, all over the world. Some of these include the Sahara Desert, the Amazon Rainforest in Brazil, Siberia, the Rhone Glacier, the Aurvergne Volcanoes or remote villages in Vietnam. Gil Delindro's artistic practice is based on research that explores connections between ecology, geology, anthropology and acoustics. His pieces translate ephemeral states of organic matter (such as soil and wood), geological debris or water into spatialised soundscapes. These sound sculptures carry within them the unpredictable effects of weather, climate, erosion and external atmospheric conditions, in contrast to fabricated acoustic devices. Delindro dwells on the contemporary tension between humans and a planet with a rapidly changing environment, questioning in what ways the human perception of “Nature” can be challenged.

The DDD – Festival Dias da Dança offers us the body of a whistling sleepwalker who, in his wanderings, creates a bridge between the mental and physical worlds, exploring exquisite combinations of movement and music. After several group pieces, French dancer and choreographer Boris Charmatz returns to the minimal (and intimist) solo form. SOMNOLE results from the assemblage of two concepts: somnolence, a state between sleeping and waking that is conducive to imaginative flights; and whistling, a sort of breathing that generates a string of melodic reminiscences, where snatches of classical music mingle with film themes or standards from the French and American songbooks. As he dances and whistles for his own enjoyment, “like one creating a stable centre inside chaos”, Boris Charmatz defines an itinerary that conveys the richness and disorder of his inner world.

Barbara Pravi, the new star of French music, makes her live debut in Portugal. After the great success in 2021, when she won second place in the Eurovision Song Contest, she brings the show “Voilà” to Casa da Música, which has sold out venues across Europe. Her powerful performances have earned her comparisons to timeless icons such as Édith Piaf and Jacques Brel. However, the French singer with Serbian and Iranian roots is looking for collaborations that bring her music into modern times, including the likes of Yannick Noah and Jaden Smith. She co-wrote the official song for the French women’s liberation movement (Mouvement de Libération des Femmes) and, with a new album released in September 2021, she is asserting herself as a versatile new talent definitely worth listening to.

Paulinho Moska returns to Portugal for a solo performance. Seduced by the ease of travelling the world with only a guitar on his shoulder and singing what he writes, he chose a more direct relationship between artist and audience. A voice and a guitar in a concert that doesn’t need anything else – only the author with his accomplice singing melodies that have accompanied us for years. The songs are more loyal to the original compositions and gain the strength of the author’s expression, as they are played and sang “the way they were composed”. The repertoire consists of hits such as “Pensando em Você”, “A Seta e o Alvo” or “A Idade do Céu”, among others, and new songs featured in his most recent album, “Beleza e Medo” (2018).

Spiritus –The best way to travel is to feel is an innovative multimedia show that goes beyond the walls of the Church of Clérigos, in Porto. This immersive experience explores music, light, energy and colour, creating an atmosphere of visual poetry, synchronicity and lightness that fills the entire architecture of the Church of Clérigos. Created by OCUBO and freely inspired by the poem “Afinal, a melhor maneira de viajar é sentir” by Álvaro de Campos, Spiritus awakens the imaginary, spirituality and mindfulness in each spectator.

In CASCADE, Meg Stuart and seven dancers look for ways to resist the arrow of time. Meeting in structures of rhythmic complexity, they propel their bodies and imaginations into a new temporal space, envisioning a new Earth and rebalancing inevitable outcomes. In a game of refusal and care, disruption becomes a driving force: rushes and falls succeed one another, bodies lose their bearings, principles are repeated, interrupted and transformed. Hovering at the edge of uncertainty, the dancers wonder what kind of dream they need to give up on in order to keep dreaming, what kind of body they need to acquire in order to keep going. CASCADE is a surrender to what we don’t know about the other. A free fall to the crumbling of time.

In recent years, the works of Dostoyevsky have been haunting the theatre work of Sylvain Creuzevault, who now returns to them with the intention of climbing the literary mountain that is “The Brothers Karamazov”, the Russian writer’s final masterpiece. Which of his four sons has killed the Karamazov patriarch? This tale of an imploding family, whose writing continuously contradicts its statements, describes the conflict between truth and falsehood, religion and State, good and evil. No one is innocent, and guilt spreads around. “If God is dead, everything is allowed” is written on one of the stage set’s walls, like a maxim. Sylvain Creuzevault drew inspiration from Genet, who saw the Russian master’s novel as “a farce”. Of the “murderous game” that unravels tragic decorum “only shreds remain; and the fun starts”. The French stage director turns the farcical humour that runs through “The Brothers Karamazov” into the thread that causes both action and characters to come unstitched, ultimately revealing them as a symptom of their time and a reflection of our present.

This will be the debut of Rebecca Tong at Casa da Música, a conductor who won the Solti competition in Chicago and the La Maestra competition in Paris. This concert brings us one of the most enduring love stories in Western culture: Romeo and Juliet, Shakespeare’s tragedy that Prokofieff set to music in the form of a ballet, giving it an orchestral colouring that boosts the expressiveness of the body. Love, the theme chosen for this season, is also addressed in the form of double concertos in which the soloists embody the protagonists of the story. In this performance, the heroes are two pianos, supported by the orchestra, in a work written by Francis Poulenc in 1932. The young composer was experimenting with a new formation and wrote a piece in which “happy modernism” stands out through rhythmic vivacity. And it was precisely from a work for two pianos that the outstanding and colourful orchestral piece by Emmanuel Chabrier was born, as a result of a trip he made to Spain.

Welcome to THE DEITIES BALL. Here, we celebrate cultures, gods and goddesses, heaven and earth and one single power of life. It is also a hymn to Nature, being mother and father, to whom Humans ask for divine wisdom and help to flow in this and in other lives. The beginning of times and the end of one day connects all as ONE. Throughout the centuries and in diverse civilizations, we approach life in different ways, we worship deities as divine entities of infinite power, we celebrate magic and all we cannot yet understand. Today, we celebrate the deities and ourselves, the divine in each one of us, finding inspiration, power, love, beauty and celebration in the Deities in this party that is also a vindication. — Nala Revlon & Piny 007 Don’t be fooled! This is not a performance, but it’s definitely spectacular! The DDD hosts THE DEITIES BALL, which reinforces Porto’s presence in the international itinerary of the thriving culture of voguing. In this Ball, which unfolds between 5 pm and 11 pm, you can either compete in one of the categories or simply watch it! After the trophies, the party continues all night long at Café Rivoli.