Ballate per Uomini e Bestie

During times of plague, just like in Decameron, we hide in tales, but not without expressing discontent. A plague has spread in this historical moment: it is a moral, ethic, linguistic plague that runs the Internet.

During plague, awful behaviours like language corruption, violence, pornography spread faster instead of desire. We entered a new era of technological revolution and we are starting to measure the consequences of Production. In the last hundred years, the planet went into an acceleration that deleted our previous history. A structural change that will become irreversible. The sense of the sacred, its manifestation in nature, has disappeared. Religion became an excuse for fighting. Experts define this era Anthropocene, to underline how much Humanity has changed the substance of the planet and of its inhabitants. 

During times of plague, it is necessary to rebuild unity to find a new relationship with the nature of things. With the sacred and with beasts, living creatures with which we share life on Earth. Our relationship with animals has been told in many ways in the past: from Lascaux’s primitive caves to Middle Ages’ bestiaries, in which nature got the shape of a book and reality was seen as a symbol. And then, there is today: we have a more concious relationship with animals, curated on our plates and dishes. Or it’s culturally mediated by cartoons, soft toys and tales. 

The beast exists and resists, especially in the subconcious. We dream about animals much more than we meet them, as sleeping gets us back to the beginning of the world, made of deep darkness. A separation occurred after that primitive darkness: now we are stuck in this human shape after million of years of evolution.

In these alternative and technologically evolved Middle Ages, made of crusades, new war religions, obscurantism, industrial work on fear, behind us, or sometimes by our side, there are animals, beasts, standing as an unsolved access point to the mystery of nature, human nature. 

This is the topic. A formal question arises in its development, and the answer can be found in the ballad;
it doesn’t require shortness nor synthesis. 

This dance features authors of great ballads, like Oscar Wilde, John Keats and Francesco d’Assisi, along with the genious of a XIIIth century erudite, Richard de Fournival, who wrote a wonderful Bestiaire d’amours. He teaches us the complexity and the natural mechanisms of love seductions, but he also reminds us that every story is a love story. Even the absurd, destructive and bloody history of humanity. 

Vinicio Capossela


  1. Uro
  2. Pvero Cristo
  3. La peste
  4. Danza Macabra
  5. Il testamento del porco
  6. Ballata del cacere di Reading
  7. Nuove tentazioni di Sant’Antonio
  8. Le belle dame sans merci
  9. Perfetta letizia
  10. I musicanti di Brema
  11. Le loup garou
  12. La giraffa di Imola
  13. Di città in città (… e porta l’orso)
  14. La lumaca


Vinicio Capossela (piano, armonium, farfisa, drums, acoustic guitar, toy piano, clacson, chains, washing board and voice), Teho Teardo (guitar, Fender Rhodes, synth), Sebastiano De Gennaro (drum, marimba, tammorra, celesta, synth, electronic drums, noises), Vincenzo Vasi (marimba, programmation), Antonio Vizzuso (cupa cupa), Agostino Cortese (cupa cupa, bass drum), Antonello Iannotta (daf, tambourine, bodran, choir), Alessandro “Asso” Stefana (guitars, organ, mid bass programmation), Coro dell’Arciconfraternita del SS Crocefisso e Monte dei Morti di Sessa Aurunca (vocal sample), Laura Bisceglia (cello), Giovanna Famulari (cello), Ambra Chiara Michelangeli (violin), Vanessa Cremaschi (violin), Elena De Stabile (violin), Marc Ribot (acoustic and electric guitar), Niccolò Fornabaio(drums, percussions, programmation, twelve strings electric guitar, celesta, boots), Gak Sato (programmation), Davide Afzal (bass), Andrea Tartaglia (human beatbox, choirs, yodel), Daniele Sepe (flutes, aulophones, electric guitar, chromornos, ottavino, saxophone, bass drum, choir), Giovannangelo De Gennaro (ciaramella, choir, viella, aulophones), Peppe Leone (drum, percussions), Jacopo Leone (secret voice), Raffaele Tiseo (violin, ribeca, viola, arm cello, programmation, synth, Rhodes piano, artificial voices), Bulgarian National Radio Symphony Orchestra, Andrea Lamacchia (double bass), Alessandro Tedesco (trombone), Giuseppe Frana (liuto, tympanum), Lorenzo Albanes (choir), Luca Casbarro (bagpipe, accordeon, choir), Daniele Iannella (drums, marching band cymbals), Mikey Kenney (fiddle), Massimo Zamboni (electric guitars, voice), Cristiano Roversi (bass, Chapman grand stick, mellotron, keyboards), Gigi Cavalli Cocchi (drums), Davide Burani (harp), Taketo Gohara (programmation, tambourine, synth), Claudio Romano(kitchen battery), Antonello Capone (bassoon), Gaetano Falzarano (clarinet), Michele Margotta (trumpet), Vincenzo Nicolai (trombone), Mario Margotta (low tube), Jim White (drums), Georgos Xylouris (electric lauto), Stefano Nanni (percussions, xilophone, marimba, celesta, accordeon), Antonio Amadei (cello)