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.

This fair started spontaneously at Praça da Batalha where handmade products (costume jewellery, wallets, among others) were sold. In the 90's the Porto City Hall regulated this activity, though the creation of Batalha Handcraft Fair.

Inspired by the triangular shape of the Mezzanine space of Galeria Municipal do Porto as a potencial metarphor for the Bermuda Triangle, Luís Lázaro Matos will transport us to a whirlwind of images kaleidoscopically suspended in space. Progressively interested in contemporary processes of constant monetisation and surveillance in cyber space, the artist has been concerned lately with intersections between the lightness of modern glass architecture and the transparency of social media. Is this triangular area at Galeria Municipal do Porto not only an axhibition space, but also a place of disappearance? Waves And Whirlpools is curated by Martha Kirszenbaum, curator of the France pavilion at the 58th Venice Biennale, 2019.

From 6 December 2019 to 27 December 2020, the Natural History and Science Museum of the University of Porto (MHNC-UP) hosts, in its core pole (Historical Building of the Rectory of the University of Porto, near Cordoaria Garden), the exhibition Cultures and Geographies. Marking its centennial commemorations, the Faculty of Arts and Humanities of the University of Porto (FLUP) co-organizes with the MHNC-UP, and in collaboration with the Soares dos Reis National Museum, an exhibition that presents the collections that were part of the its museology and artistic holdings during the first phase of its existence (1919-1931). Originally used as teaching resources in three museum-rooms of the first FLUP, these collections, which, in 1941, moved to the Faculty of Sciences of the University of Porto, are now in the care of MHNC-UP. Through a set of 250 extraordinary pieces of archaeology and ethnography, visitors will be invited to travel over time and explore ways of life, experiences and rituals of human communities on each of the five continents.

The exhibition "Revolução de 24 de Agosto de 1820: Prelúdio do Liberalismo em Portugal" will open at Museu Militar do Porto, curated by Fernando Gonçalves. Open to the public for ten months (until 1 August 2021), the exhibition depicts the bravery of a group of notable citizens of Porto, who took the first step towards the end of the British influence and the resulting liberal monarchy 200 years ago. The North demanded the return of the King, a Constitution, justice, and prosperity. The seeds of progress and modernity were sown in Portugal and there are documents and historical items that prove it.

More than 200 forged paintings, seized in the last 15 years by Diretoria do Norte da Polícia Judiciária (detective force), are on display at Alfândega do Porto. "A Arte do Falso" gathers not only counterfeit works of names like Picasso, Júlio Pomar, Cesariny, Malangatana, Amadeo Souza Cardoso, but also unusual objects that reveal the genius of criminals. Between counterfeit banknotes, umbrellas that turn into weapons, paintings exhibited at art gallery auctions that had been screened by specialists, the exhibition holds many surprises, including a machine that would have the gift of healing people all over the world by simply turning on some lights. The forged works on display to the public were located by the detectives of the police force, mainly in the urban areas of Lisbon and Porto, in art galleries, auctions, fairs, exhibitions and antique shops. In the exhibition there is also a space dedicated to the little ones, where they can take fingerprints and compare them on different surfaces.

R. H. Quaytman employs mechanical reproduction techniques and conceptual art traditions to create closed series of works divided into chapters. Subsequent parts are numbered to mark the passage of time and gradually completing life and artistic project. The artist treats all exhibitions and paintings presented as one creative undertaking. R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices specific words, we realise that each word has a resonance. Quaytman's paintings, organised into chapters structured like a book, have grammar, syntax and vocabulary. While the work is delimited by a rigid structure on a material level - they appear only in bevelled plywood panels in eight predetermined sizes derived from the golden ratio - the open-ended content creates permutations that result in an endless archive. Quaytman's practice engages three distinct stylistic modes: silkscreen based on photographs, optical patterns such as moiré and scintillating grids, and small hand-painted oil works. Quaytman's work, presented for the first time in Portugal, points to the new possibilities of today's painting. What is a painting, an icon? What are the means of painting in a culture saturated by visual stimulation, from photography to the digital forest of signs? Is painting still a relevant medium to share our story? The exhibition is co-organised by Muzeum Sztuki in Lódz, Poland, and by Fundação de Serralves – Museu de Arte Contemporânea, Porto. Curated by Jaroslaw Suchan

Specifically conceived for the Contemporary Gallery, Hugo Canoilas' first exhibition (Lisbon, 1977) at the Serralves Museum is both a confirmation and expansion some core concerns in his practice: a speculative approach to the relationship between art and reality (social and political events), a questioning of the characteristics and boundaries of painting, and the emphasis given to collaborative work. With a background in painting, Canoilas has been examining the place of this artistic medium, how it is perceived both by museum visitors and passers-by (the artist is known for public space interventions which are never advertised as works of art). In the case of this exhibition at Serralves, Canoilas dispensed with the place where paintings are most expected to be found - the gallery walls - and decides to intervene on the floor, skirting board and ceiling of the Contemporary Gallery - spaces neglected by most painting exhibitions. On the floor there are three coloured glass pieces that represent jellyfish. Made in Marinha Grande, these jellyfish - possible symbols of climate warming, but also of such ideas as formlessness and metamorphosis on which several works by Hugo Canoilas are based – are meant to be stepped on by visitors. The main role given to the floor is confirmed by the skirting board-painting (a light box, featuring a painting on linen stretched like a canvas, delimiting the space of the exhibition), in which the artist draws attention to an architectural element that is as common as it is unnoticed. On the gallery ceiling, Hugo Canoilas will create a gestural painting that, like his most recent abstract paintings, is based on images of the seabed’s flora and fauna. It should be noted that the painting also functions as a lightbox that creates an aura in the room, affecting the perception of the jellyfish. Jellyfish are fascinating animals that, throughout their unusual life cycles undergo various metamorphoses and reproduce cells in unusual ways. His observation, which witnesses dramatic variations in configuration, defies all notions of stability and all ideas on the relationship between the parts and the whole. Just like this exhibition by Hugo Canoilas, comprised of three distinct elements - floor, skirting board and ceiling - that influence one another (in cooperation, symbiosis, competition, predation and parasitism) and which is an embodiment of an artistic practice that does not crystallize in a form, but which constantly question themselves about its own limits, functions and assumptions.

The more than one hundred photographs on display in the Manoel de Oliveira Fotógrafo exhibition are one of the big surprises that the director’s personal archive, entirely deposited in Serralves, had been holding. Produced between the late 1930s and the mid-1950s, these images, stored for several decades and mostly never-before-seen, reveal an unknown facet of Oliveira and open new perspectives on how his filmmaking developed. Manoel de Oliveira's passage through the static image is a decisive stage in his career as a filmmaker. In dialogue with both pictorialism, constructivism and Bauhaus' experiments, his photographs are halfway between exploring the classical values of composition and the modernist spirit running through the entire first phase of his film work. Used mostly artistically, photography is for the director an instrument of formal research and experimentation, another way of questioning, often in direct relationship with films, to building his own visual language. These images that are now on view, certainly add a new chapter to the history of Portuguese photography of the 1940s. But they are also a precious instrument to better understand the way Manoel de Oliveira took on, during a period of ten years, the direction of photography of his own films, as well as to contextualize, from a broader perspective, the strict composition that, in general, featured in all his films. Looking at these images, it will not be of much interest to know where the photographer begins and where the filmmaker ends, nor to define, with precision, the extent to which the first one may have sometimes taken the place of the second one. What is important, is to question how this coexistence between two ways of seeing and thinking is embodied in Manoel de Oliveira's work. Curated by António Preto, Director of Casa do Cinema Manoel de Oliveira. All the photographs on display belong to the Manoel de Oliveira Collection, Casa do Cinema Manoel de Oliveira - Fundação de Serralves, Porto.

The Mercado da Ribeira consists of 10 stores, and was created after the renovation of the old market. Food products in its traditional form, tourist products and restaurants. Location: Cais da Ribeira (near the north pillar of Luiz I Bridge).

Alfredo Cunha who we are talking about is the man with his camera and his gaze. Any good photojournalist senses, before he knows it clearly, that an image, which must contain all content and seduction, is, has always been a decisive moment. Before being defined by Cartier-Bresson, it already existed in the mind of those who photograph the event, the face and the movement. In Alfredo Cunha's long 50-year career, much has changed: the country he photographs; the equipment he uses - far from the very first Petri FT, the Leica M3, which he started using in 1973, and all the Leicas that followed and which he has always remained faithful to; photography - from analog, mostly black and white, to digital, which he has been using since 2003. The photojournalistic image responds to the requirement of agreement with the text, it is also linked to where, when, how and why. However, when the photographer has already defined his style, and this is the case of Alfredo Cunha, the seduction of the image overlaps the seduction of the news. In all of them it becomes difficult to associate the image with a style because Alfredo Cunha goes beyond the current trend and theme. And it is in this regard that we can say, with Barthes, that his photographs are the result without a code, they depend on the transmission of his for our affection. Teresa Siza (adapted text)

Teatro do Bolhão is creating an ambitious triptych: after Vida do Grande D. Quixote de la Mancha e do Gordo Sancho Pança, by António José da Silva (O Judeu), and before Shakespeare's The Merchant of Venice, the centre is made with Lorenzaccio, by Alfred de Musset (1834), directed by Rogério de Carvalho. From accounts of the history of Florence in the 16th century involving the overthrow of the tyrant duchy of Alessandro de Médeci, murdered by his cousin Lorenzo, disparagingly called "Lorenzaccio" because he frustrates the ideals of change, Musset creates both personal drama around this figure, haunted by a Hamletian restlessness, and a criticism of a society's decline. A key piece of the French romantic drama, considered hard to perform or staged in amputated versions, has always been a challenge for the company, which now makes its premiere in Portugal, drawing inspiration from its formal freedom to corrupt its dramatic forms and genres. A performance about a human community powerless against the crumbling of power and its capacity for dissimulation, Lorenzaccio aspires to be also a portrait of our time.

"Joaquim Vieira's Porto is by no means the same Porto to what we all presume to know or recognise - it is a more lively and surprising Porto, the imagined and imaginary city of an artist who also invites us to use our imagination as we travel through his spaces, often stunning and unmistakable." - Arnaldo Saraiva

This is the first exhibition in Portugal by Korakrit Arunanondchai (Thailand, 1986), an artist who works in the fields of video, performance, sculpture and installation and who interacts between two cultures: born and raised in Asia he moved to the US in 2009 to study art and currently lives between New York and Bangkok. Arunanondchai's work explores and brings together themes such as Eastern religion and mythology, environment, ecology, music, geopolitics and technological development, contrasting Asian spirituality with Western pragmatism. Arunanondchai reflects on contemporary life and the human condition in the era of technology, speculating on the consequences of the Anthropocene, a recently definition that sees the effect of human activity as the main environmental force on the planet, capable of altering its geological composition. In his practice, the artist uses autobiographical events and experiences. Friends and family participate and are somehow involved in several of his works. No history in a room filled with people with funny names 5 (2019) is an installation made in partnership with the artist Alex Gvojic (U.S., 1984), a friend with whom he has been working for several years. Boychild, an artist linked to performance and dance who has regularly collaborated with Korakrit Arunanondchai, is also featured in this piece. No history in a room filled with people with funny names 5 envelops visitors in a mysterious and nocturnal environment in which a triple video projection is combined with laser rays emitted by a sculpture reminiscent of a lying human figure. The earth that covers the floor and the presence of natural materials (seashells, twigs) suggest a pre or post, historical environment. No history in a room filled with people with funny names 5 comprises a wide range of images and sounds, o generate an excessive, enveloping and disturbing atmosphere. The videos mix original footage - such as that captured by a drone of the Ramasum Camp radio station, a symbol of Thailand's recent history as an ally of the USA during the Vietnam War and now transformed into a tourist destination - and other pre-existing ones, such as television broadcast of of the rescue of 12 boys and their football coach who were trapped in a cave in Thailand in 2018. This work was initially commissioned by the Center d’Art Contemporain Genève for the 2018 Biennale of Moving Image and presented at the Venice Biennale in 2019.

How to address invisibility as the visible beings that we are? This was one of the premises behind the play A body that hides also stands. Through words, drawings, actions and silences, the play takes the shape of small chapters that merge and form a book. An A5-size book, with yellow hard cover and 96 pages. - Marta Ramos

Estro, from Ancient Greek "oîstros" and latin "oestrus", stands for inspiration, enthusiasm, poetic fury. Estro is also the title of a project directed by Gonçalo Amorim and Paulo Furtado. Teatro Experimental do Porto, in-house company at Teatro Campo Alegre, via the Campo Aberto programme, and often featured in the Teatro Municipal do Porto’s season, sets out to explore the dual natura of the word “rock” and poetic practice. As in the Iliad or the Odyssey, which are known to have been compilations of stories of heroes, wars, and passions told in the squares, "rock" used the poetic word to publicly shout life, to summon everyone to talk about death, war, love and lovelessness, loneliness, concrete jungles, the experience of the working class and oppression. This public profile, which gathers people around it, which congregates, contrasts sharply with the introspection that the poetic gesture so often requires. In the age of rock, a new place was established as a political and aesthetic reference, a place that was once taken by theatre. What happened to that heritage? Where are the troubadours? Estro wants to hand this style of music its folk songbook status back.

Estetoscópio (Stethoscope) is a programme that seeks to auscultate to a cinema that, at the intersection with aesthetics, politics and sociology, faces the dilemmas of the present. In this second edition, in tune with the Korakrit Arunanondchai exhibition in Serralves, we ponder on the problems of social ecology, sustainability and the impact of globalization on the environment. Two sessions that seek to evaluate how the contradictions of the consumer society have been portrayed in contemporary documentary cinema. Programme 7 NOV | 5 pm PAINTING WITH HISTORY IN A ROOM FILLED WITH PEOPLE WITH FUNNY NAMES 3 USA, TH, FR | 2015 | 24 min. Korakrit Arunanondchai #67 FR | 2012 | 4 min. Jean-Gabriel Périot ALL INCLUSIVE SW | 2018 | 10 min. Corina Schwingruber llic WASTE NO.5 THE RAFT OF THE MEDUSA FIN | 2018 | 18 min. Jan Ijäs 8 NOV | 5 pm CONTAMINATED HOME GR, JP | 2014 | 25 min. Nina Fischer, Maroan el Sani TERRITORY UK | 2015 | 17 min. Eleanor Mortimer MY BBY 8L3W GR, FR | 2014 | 3 min Neozoon ALL THAT IS SOLID FR | 2014 | 15 min. Louis Henderson

A recital that celebrates music at the Versailles Court. Exclusive artist at Erato record label, Alexandre Tharaud is an exceptional figure in classical music and a leading exponent of French pianism. His discography has more than 25 solo titles and spans repertoires from the Baroque to the 20th century - most of which have been awarded by the specialized press. In this concert included in the festival À Vota do Barroco, Tharaud pays tribute to composers associated with the courts of the kings Louis XIV, XV and XVI of France, a programme that also gave shape to the Versailles album, released just a year ago

Ivo Canelas brings to Porto a solo performance of a text about depression, which he won the award in 2019 for best solo performance by Prémio Público. Written by the British Duncan Macmillan, Todas as Coisas Maravilhosas (Every Brilliant Thing) premiered at the prestigious Fringe Festival in 2013 and has already been performed in several countries. In this immersible performance, we talk about serious themes: depression, existential crises, family and love are some of them. Everything is based on a list created by a seven-year-old child about the best things in life to deal with his mother's depression, where the audience has an active role in exploring the text and the theme. “For an hour and a half, we are all enlightened. Truly a must see”. - Rui Zink

Between March and September 2020, the architect Mário Mesquita, researcher and Professor at the Faculty of Architecture of the University of Porto, systematically made a series of daily photographic reports that portray the city of Porto during the period of the pandemic. This iconographic material, produced in digital format, has been posted on Facebook and has aroused the interest of many who follow urban dynamics, in this case, in times of health contingency, in an exceptional reality since the State of Emergency was declared to the “new normal” current situation. This diary record explores the potential of the visual representation of a situation on which there is thought to be room for critical reflection based on it, enabling, within the scope of an educational service of an institution (Centro Português de Fotografia-CPF) that privileges the image as a language, discuss the city and its representations in a perspective of analysis of the present, but above all in an attempt to equate what may mean the adaptation of the city to an absolutely uncertain future. Therefore, a visual installation with 3 portable projectors displaying in loop the theme selection (city, territory and society) on the 3 walls of the room connected to CPF’s Extensão Cultural e Educativa.

Noiserv, a multi-instrumentalist who has already been called “the one man orchestra” or “one-man band”, has in his curriculum the successful debut album “One Hundred miles from thoughtlessness” [2008], the EP “A day in the day of the days” [2010], the award-winning “Almost Visible Orchestra”, which was considered the best album of 2013 by Sociedade Portuguesa de Autores, and, even in 2016, the LP “00:00:00:00” which is described by the Lisbon-born musician as “the soundtrack for a film that does not yet exist, but that maybe one day it will exist”. Noiserv returns in 2020 to record editions with a work written entirely in Portuguese. “Uma Palavra Começada Por N” takes on a more confessional tone than the previous records and gets even closer to the listener through the sound that has always characterized him combined with his mother tongue.

Merce Cunningham was one of the greatest North American artists, whose career spans seven decades and is marked by constant innovation and the expansion of the boundaries of performing arts. He now returns to Porto in a programme put forward by CCN – Ballet de Lorraine, celebrating his hundredth birthday. Cunningham created over 200 pieces, partly in collaboration with John Cage (with respect to music) and Robert Rauschenberg (as far as scenography, lighting design and costumes go). He radically renewed the dance scene, and he comes to Teatro Rivoli in the scope of a series dedicated to dance icons, after watching works by Lucinda Childs and Trisha Brown in February 2019. For four walls What we are met with is a youth piece full of emotions. For four walls is a wanderlust through a room, the individual, and the history we share. The “room” is a mirrored space that gives the impression of having and not having confining walls according to the situation. Defining infinity, passing through it or claiming to be a reflective space — a place to remember that we belong to these interconnected spaces and their temporalities. For four Walls is a vulnerable, perpetually moving non-place. RainForest The title for RainForest came from Cunningham’s childhood memories of the Northwest and the rainforest in the Olympic Peninsula (USA). This 1968 piece includes Andy Warhol’s installation, Silver Clouds — a great number of pillow-shaped Mylar balloons filled with helium freely float in the air, wrapping the six bodies and resembling a dense tropical forest. The dancers wore flesh-coloured leotards and tights, which Jasper Johns (uncredited) cut with a razor blade, to give the costumes a roughened appearance. The music was by David Tudor (it was the first time he worked with the company) and evoked the chirping and chattering of birds and animals. Sounddance Sounddance is considered one of Merce Cunningham’s most beloved pieces by audiences and critics alike. Cunningham created Sounddance upon his return after spending nine weeks with the Paris Opera Ballet in 1973, where he created Un jour ou deux [A Day or Two]. As opposed to ballet’s uniformity and unison, he choreographed a fast-paced, vigorous, organised chaos. The stage is split down the middle by a delicate golden curtain, designed by artist Mark Lancaster, which adds meaning to the overlapping, frantic choreography, as if we were watching a miniature dance cosmos through a microscope. The dancers enter the stage pushed by the curtain, and exit as though they were being sucked by it and by David Tudor’s powerful score.

Monthly, Restaurante Casa da Música becomes a true Fado house, where fado is “served at the table” by top performers, honouring our finest tradition, but also the contemporaneity of Portuguese music par excellence.

Strongly inspired by Josué de Castro’s work, Fome de Lama (Mud Hunger) is a circus performance that seeks to explore the internal and external balance of Man on the slackline. A constant struggle for existence, like a hungry animal whose instincts control the psyche. Enslaved, Man’s hands look for life, sinking in the mud. Trapped in his own cycle of misery and despair, over an entanglement of roots, Man drowns in the waters that make up the mangrove. Surrounded and suspended in the ropes, he seeks to free himself from the constant struggle for survival. - Douglas Melo

It is the story of a being that borders what one defines as a male figure, coming from an atypical attendance and from a past lived at the current time. Time unfolds over itself and its perception does not retain the chronological order of the word. Errance means to wander, it deals with a partially infinite trajectory, where the renewal and discovery of a third world gravitates in a dense and hypnotic atmosphere. Chance meets burlesque, in a subtle presence. Absurd and tragic consequences degenerate dance and acrobatic gesture, resulting from conflicts introduced by the dialogue between body and matter. Errance/Frequência #1, an attendance in a latent state in a wander, a floating atmosphere in a hypnotic-dramatic cosmos. - Leonardo Ferreira

Port /Post/Doc: Film & Media Festival is a cinema of the real festival in Porto. Between the city and the world, fiction and documentary, Porto/Post/Doc presents the usual competitions (Competição Internacional and Competição Cinema Novo), which aim to reveal the most hidden gems of contemporary cinema. In the Transmission programme, the festival strengthens the bond between music and cinema, showing films that play and make themselves heard, among biopics or concerts. And because we look at the world, but with our feet firmly in Portugal, Porto/Post/Doc also presents a section intended to screen films spoken in Portuguese and another one dedicated to our Spanish neighbours. The festival will be on several venues in Porto, a historic and cosmopolitan city, the centre of a vibrant community.

Beethoven's Symphony No. 6 was written in 1808 as a recollection of Nature and country life, mirroring the images and moods we associate with them. Throughout five movements, it evokes the awakening of joyful feelings upon arriving in the countryside, a scene by the brook, a merry gathering of country folk and a thunderstorm followed by a shepherd’s song of thanksgiving. On the other side of the mirror, however, Brett Dean's Pastoral Symphony, composed at the turn of our century, warns us “about the glorious birdsong, the threat that it faces, the loss, and the soulless noise that we’re left with when they’re all gone”.

Este é o Meu Corpo (This is My Body) brings together four crucial solo pieces by Mónica Calle and created during a 28-year time span. With this action, the creator/performer revisits, questions, and updates a body of work, looking into its future. A physical, personal, and artistic body, but also a collective body, always built connected to others, working on the word, turning word into body. In Os Meus Sentimentos (2013), Mónica Calle reads the words of Dulce Maria Cardoso, inhabiting them as a second skin, in a rich stream-of-consciousness solo.

This is the story of a bear who, “when the world began, at the time when everyone walked without carrying anything with them”, decides to wait, without moving a foot, for the fruits of a fig tree to ripe and be ready to be eaten. But, as the title goes, Figs are for those passing by. Marta Bernardes does a staged reading of the book by João Gomes Abreu and Bernardo P. Carvalho, published by Planeta Tangerina, in 2016. She is convinced that, as Natália Correia used to say, "poetry is meant to be eaten." And she challenges the younger ones: “Now we are going to dream together and get to know reality through our mouth and feet, to learn about other possible relationships with the world: walking in the sun and in the shade, with our hands open, words sprouting.”

In 2019, four elements from different origins, João Guimarães (alto saxophone), Filipe Dias (guitar), Pedro Molina (double bass) and Antón Iglesias (drums) take charge of this astral journey through its compositional universe. This collaborative quartet born in Porto and rooted in the jazz tradition, seeks to spread its vision of what has already existed and what will come next, without losing focus on the present moment.

Este é o Meu Corpo (This is My Body) brings together four crucial solo pieces by Mónica Calle and created during a 28-year time span. With this action, the creator/performer revisits, questions, and updates a body of work, looking into its future. A physical, personal, and artistic body, but also a collective body, always built connected to others, working on the word, turning word into body. A Virgem Doida (1992), with a text by Rimbaud, was the solo debut of Mónica Calle and the structure she founded, Casa Conveniente, the inaugural spark of an intimate and close theatre.

Over four days, Teatro Carlos Alberto shows the work of four creators from A Turma, a collective company that was born in Porto in 2008. It is a display or showcase condensed in time and space, with continuous sessions at different hours, where they evolve, inside a scenic environment conceived by the scenographer Ana Gormicho, three performances created by Tiago Correia, Manuel Tur and António Afonso Parra. Winner of the Grand Prize of Teatro Português SPA 2018, Alma (Soul) is a play about youth where playwright Tiago Correia creates, with a language as poetic as colloquial, a universe suffused with loneliness and the possibility of trust in friendship and love.

Over four days, Teatro Carlos Alberto shows the work of four creators from A Turma, a collective company that was born in Porto in 2008. It is a display or showcase condensed in time and space, with continuous sessions at different hours, where they evolve, inside a scenic environment conceived by the scenographer Ana Gormicho, three performances created by Tiago Correia, Manuel Tur and António Afonso Parra. In Airbnb e Nuvens: uma rádio novela (Airbnb & Nuvens: a radio soap opera), director Manuel Tur brings to the stage the artifices, resources and methods of radio communication. A “radio soap opera” about a country that is bankrupt and rented-out with the delusion of grandeur (yes, Portugal), written by the sarcastic pen of Luísa Costa Gomes.

The power of seduction of the violin irresistibly includes Ravel's Tzigane, a demanding piece for the soloist and turns out to be a visit to the great romantic virtuosos. The rhapsody comes to us through the hands of Martyn Jackson, a recent member of the oldest British chamber ensemble, the prestigious Allegri Quartet. The evening begins with a master in the art of orchestration, Schreker, and a work that surprises by the greatly expressive symphonic sounds that he manages to extract from a chamber orchestra. The programme is completed with a famous Russian work that, although written for piano, is so powerfully suggestive that gave rise to numerous orchestrations. In this museum, imagined by Mussorgsky and painted with an arrangement by Walter Goehr, the Pictures at an Exhibition are on display, as well as the state of mind of the visitor who visits the different rooms observing the paintings and drawings.

Over four days, Teatro Carlos Alberto shows the work of four creators from A Turma, a collective company that was born in Porto in 2008. It is a display or showcase condensed in time and space, with continuous sessions at different hours, where they evolve, inside a scenic environment conceived by the scenographer Ana Gormicho, three performances created by Tiago Correia, Manuel Tur and António Afonso Parra. António Afonso Parra, together with Luís Araújo, appropriated Wake Up And Smell The Coffee, a monologue by Eric Bogosian. A rewriting process, which adapted the text to a new geographical context, has led to the creation of Wake Up, a radical abbreviation of the original title. As if they were telling us, or shouting, that the predatory American way of life has long been a universal heritage ..

Rui Ramos takes the stage of the FC Porto Museum auditorium and goes after the Gambozinos à Solta and the secrets of magic in an adventure full of misadventures and very fun. Under the ingenious, performing and host baton, tales and magical art intersect in a show aimed at children, but to participate together with your family, because in the fabulous universe of Histórias para Dragõezinhos, even adults have a blast! Please note - Event subject to maximum capacity rules, within the scope of complying with the health authorities’ guidelines.

Mussorgsky’s Pictures at an Exhibition is one of the great masterpieces of Russian music and, being a favorite piece of the general public, is one of the most celebrated orchestration that Ravel has done of pieces by other authors. Based on the paintings and drawings by the painter Viktor Hartmann, we find mythological creatures like the gnome who runs with deformed legs or the witch Baba-Yaga. A distinctive element of this work is the Promenade, which in its various versions represents the path that a visitor takes between the different pictures and rooms of an imaginary museum. In this commented concert, Rui Pereira tells us the fantastic stories behind the images and the music.