Themes: Research, innovation, future, cultural ecology
Concert 2022 dedicated to Pier Paolo Pasolini
Popular Orchestra conducted by DARDUST
Guests: Samuele Bersani, Stromae, Marco Mengoni, Elodie, Massimo Pericolo, Studio Murena and Kety Fusco.
"La Notte della Taranta," said Puglia Regional President Michele Emiliano, "is for me a place of participation, meeting and knowledge between cultures. When artists come together, something extraordinary does not necessarily have to be born. But you need to try and have the desire to meet: an event like the Notte della Taranta undergoes precisely this process of mental rearrangement that happens through creativity. For us, it means welcoming all these passions and creative ideas: there is, of course, a complex machine behind such an important event that is at work all year round, with untold effort that also involves risks. The board of directors takes responsibility for the choices in full autonomy, which - I must say - I have always shared, understanding also the many difficulties. It takes courage, and for that I thank the entire board. I have verified in these long months of preparation how much the choices made have been appreciated first of all by the public, such as that of the concertmaster to whom our esteem goes.
I look forward to sharing and enjoying this event especially with the younger generation. Good work to everyone," concluded President Emiliano, "and have a happy Notte della Taranta.
The president of the Apulia Region spoke at the press conference presenting Notte della Taranta number 25. The conference opened in memory of one of the last singers of the tradition Giovanni Avantaggiato, who passed away a few days ago and was greeted with a moving applause from those present. It will be a memorable edition, pointed out Gino Castaldo, who together with Madame will narrate La Notte della Taranta aired on Thursday, September 1 on RAI 1 at 11:15 pm. Four pivotal themes for 2022: research, innovation, future and cultural ecology.
Launched in November 2021 research on traditional texts and sounds by maestro Dardust and the resident Popular Orchestra coordinated by Gianluca Longo. A long work of connecting languages. "I have never worked so hard on a project in my life, it is an incredible experience," said maestro concertmaster Dardust, who stressed "how contamination was the key word around which the spatial journey was built, which starts from tradition and then touches contemporary and futuristic universes with electronic music. Contaminating, without betraying tradition, contaminating it, even distorting it in some cases, but always with extreme respect for a people and their tradition. It is a journey through space and time that of edition number 25 that starts from the 1600s, from the baroque, there are also the sounds of David Bowie, but everything, I hope, is done with elegance and respect. An incredible bond has been created with the Orchestra, Dardust reiterated again. It is an experience that I will carry with me for the rest of my life." The maestro concertatore then explained the reasons for the choice of guest artists for the Orchestra and the Concertone, "in the sign of that fluidity that has no tracks and no fences the choice could only fall on a singer-songwriter like Samuele Bersani, whose artistic path is an extremely free one. So are Elodie and Mengoni, exponents of pop music in which the contamination of genres is very evident. And of course with this in mind, the choice was almost natural on an international artist like Stromae who has made multiculturalism his strong point: there is never a predictable track in his career. Like this edition of the Notte della Taranta, which will not be predictable at all."
Present at the press conference was artist Samuele Bersani: "I have been doing this job for 30 years and for 20 I had hoped to be able to participate in the Notte della Taranta. That is why when I was approached with the invitation to be part of the cast of this edition, I could only be overjoyed. Empathy was immediately created, and then I return to a land with which I have an incredible relationship: Puglia." Samuele Bersani then joked about the song he will perform tomorrow night at the Concertone, "I will bring the song Lu Ruciu de lu mare, which is about a difficult and twisted love. It could not be otherwise in my case, I have always told this kind of love in my songs."
Research also for the choreography entrusted to Irma di Paola, who for the first time will introduce the LIS language in Acqua de La Funtana. "I am happy to be the choreographer of the Concertone, said Irma Di Paola, here I found the desire to love my work again because of the freedom I received to express myself as I wanted. There are 11 choreographies that I have built on as many traditional pieces, and in one I have included sign language, which is my mother tongue. They will be inclusive paintings that know no barriers."
An element of innovation this year on the Concertone stage with the grafting of impressive video walls into the set design. "W il cielo, il mare, la terra" is Galattico's visual project with designer anthropologist Mauro Bubbico, coordinated by show designer Filippo Rossi and Selene Sanua, "composed of a complex system of visual languages: illustration, pattern, photography and cinema comment on and amplify what is happening on the stage, guide the audience to discover the sense of the marvelous, immerse them in a magical atmosphere, to rediscover festive rituals and symbolism originally linked to production cycles that have now disappeared by taking on new meanings and functions or amplifying some latent and secondary ones. The images, of different nature and origin, are animated, re-combined with each other in harmony with the other performance materials. The scenes are organized to represent the salient moments of the story told, and the images provide support for the music and background for the dance troupe. The main intent is to guide the audience to rediscover the sense of festivity, to invite them to have a totalizing experience of reality in which, through sound, images, colors, words and the body, the creative power of nature is affirmed and the founding events of the cosmos and life are celebrated." Thanks to the collaboration between the Notte della Taranta Foundation and the Lecce Biblio-museum Pole, it was possible to use a wide selection of the images of Giuseppe Palumbo, who between 1907 and 1959 scanned the Salento, photographing places, rituals, cultures, and stories, and then allocated his Archive to the Castromediano Museum in Lecce. For Luigi De Luca, director of the Lecce Biblio-museum Pole, "this collaboration with the Notte della Taranta confirms that the synergy between institutions and the resulting planning can only be oriented toward a fruitful dialogue of all the arts.
Contemporaneity demands a conscious recovery of the past, in a single stream that unites ancient and contemporary."
The Popular Orchestra La Notte della Taranta is entrusted with the Artistic Direction of Concertone 2022. The Orchestra is composed of singers and tambourine players Consuelo Alfieri (also accordion) Alessandra Caiulo, Stefania Morciano, Enza Pagliara, Antonio Amato, Salvatore Cavallo Galeanda Giancarlo Paglialunga, and musicians Gianluca Longo (mandola), Peppo Grassi (mandolin), Attilio Turrisi (chitarra battente), Giuseppe Astore (violin) Roberto Chiga, Alessandro Chiga, Carlo Canaglia De Pascali (tambourine from Salento), Roberto Gemma (bellows), Nico Berardi (woodwinds), Leonardo Cordella (accordion), Alessandro Monteduro (percussion), Antonio Dema De Marianis (drums), Valerio Combass Bruno (bass), Gioele Nuzzo (tambourine and didgeridoo).
For the August 27 Concertone, the Popular Orchestra's ensemble will be joined by a wind section composed of Mattia Dalla Pozza (sax), Francesco Minutello (trumpet), Federico Pierantoni (trombone) and Raul Moretto (tuba), and a string section composed of Caterina Coco (violin), Elisa Cavalazzi (violin), Matteo Lipari (viola), Simone Giorgini (violin) and Simone Sitta (cello). Also on stage are Vanni Casagrande (synth and percussion) and Marcello Piccinini (percussion).
CORPS DE BALLET
The Corps de Ballet has been spreading the "pizzica" for years on the stages of national and international tours with engaging choreography on the songs performed by the Popular Orchestra. It consists of Mihaela Coluccia, Cristina Frassanito, Serena Pellegrino, Lucia Scarabino, Veronica Mele, Stefano Campagna, Andrea Caracuta, Marco Martano, Fabrizio Nigro and Mattia Politi. Six professionals will join the corps de ballet on the concert stage: Serena Pomer, Vittoria Markov, Gabriele Riccio, Alessandro Covarelli, Gabriele Virgilio and Francesco Cariello, assistant to the choreographer.
Melpignano is preparing to host the large audience expected for the event: "It is a great commitment for my community and for this I thank the fellow citizens who are always open and willing to welcome the thousands of people who will reach the small town of Grecìa Salentina. The Notte della Taranta also represents my community, ready to confront the world also through music," said Mayor Valentina Avantaggiato.
Melpignano's represents the final stage of the Itinerante Festival that began on Aug. 4 and involved as many as 21 municipalities until Aug. 25. "We have hosted the popular groups that over the years have continued to work on the revival of traditional music from Salento, pointed out Itinerante artistic director Luigi Chiriatti.
CONCERT DEDICATED TO PIER PAOLO PASOLINI
The creative direction of the Notte della Taranta Foundation decided to dedicate the 2022 edition to Pier Paolo Pasolini by choosing verses from the Italian Canzoniere Antologia della poesia popolare.
Pier Paolo Pasolini published in 1955 a monumental anthology collecting 791 texts. A long and painstaking work that the author illustrates perfectly in the preface, which constitutes a very important work. In fact, Italo Calvino will write in a note "Your selection is of great poetic intelligence ... then there is the preface ... There are those sort of little portraits of the various regions through their songs, which are beautiful ... The digging out of poetry from the crudest and most stingy texts is the prince critical exercise, and the one that teaches the most."
Pier Paolo Pasolini in the introduction to the Italian Canzoniere writes "One laments, for the Puglies, the lack of a central organic work on which to base a choice: despite the willing contribution of one La Sorsa and many others, still working. An overall view of the popular poetry of this region is not given to us: it is fractionated in its provincial or city sections, but nevertheless, unless disproved, it can be reconstructed and somewhat synthesized without having an impression of singularity. It is located in the area of irradiation from Sicily, via Naples: one finds there the typical vestiges of the Baroness of Carini and the usual amorous motifs returned in the well-known scheme of the strambotto. It is therefore no more than a matter, for an anthologist, to look for good variants, or to seize some tasty variety. In the Gargano, for example, where there is almost nothing of poetry at least to infer from Tancredi's pamphlet (cf. bibl.): there is the absolute rusticity of a people on the fringes of even the lowest currents of culture, but who, too, without those currents of culture, would have no song and no poetry: very recent, certainly due to military service in the Kingdom of Italy, must be there the imports of Angiolina bell'Angiolina or Mamma, mamma, dammi cento lire.
The poetry of the place, clumsy and puerile, without images, pedestrian in its contaminations, and yet moving in some of its mountainous and very humble cheerfulness, is all bound up with the convention of the love approach.
There is, at the beginnings of that approach, first lu zinn, the wink of the stocky peasant boy, u cacckiuncidd, at the girl; then, in the company of the other young men, li cacckiune, the Sunday mass; then u surdelline, the sordina under the lover's house, la zita; finally, if all goes well, the serenade (purtè lu sunett), in which first the strusce, the strambotti, are sung, and then the prima and seconda, one-voice song and chorus, and l'ariett a la stesa or la vichese, and finally lu salute, the greeting. A lu consent (engagement) and a lu spusaggke, the tarantella.
In Taranto, in Barese, in Leccese, in Salento, in Brindisi-from the small collections and contributions that can be gleaned-the usual, modest harvest of "love songs>> and folkloric poetry (among which sailors' songs should be noted): but we will not fail to point out a meager wedding pamphlet, edited by A. Mancini (see bibl.) containing six love songs and six lullabies in the Greek-Byzantine dialect of Greece in Terra d'Otranto. We will not touch, even in passing, on the question of the glottological and folkloric angle of view (the reader will see listed in the bibliography some interesting operettas on the subject): but allow us to manifest, in this regard, our purely aesthetic interest, if they are beautiful things, of a singular beauty, which has but little connection, even of content alone, with the surrounding poetry: just as we shall see for the Grecanici songs of Roghudi in Calabria. Let us not leave the aesthetic sphere, let us not make deductions. (46)...
(46) Gigli in his pamphlet (see bibl.) observes, "We like to note first of all how the Greek folk literature of this province has a physiognomy all its own, which distinguishes it clearly from the Italian folk literature." Moreover, the reader should take note, as of a curious fact, or at least for the curious, of the strange coincidence between two Greek songs from two towns, Martano, here in Salento, and Bova, in Calabria, separated from the entire alloglotta and roadless south, and with no contact whatsoever between them for centuries: the song of Martano (collected by Gigli) says: "C' isela na' mo fsiddo apu' tturtea, / Na so'mbo ec' es to petto sa' gherai, / Na su pizzulisu òlo citto crea, /Su na calèfsi i hera na me piài! " (And I wish I were flea from these parts, so that I would enter your chest like a falcon, so that all that flesh would pinch you, you would lower your hand to catch me). While Bova's (collected by Mandatari: see bibl.), "Caspéddha, po' ciumàse manahi? /Manabò ciumúne ciòla egò. / Na spiddho na su mbei ossu to afti, /C'ena addho na mbei pu thelo ego;/ Na su dangài addhonè tundo vizzì, / Ce t'addho, abbucàtu, to affalò: Asce sprihada na su vjéi i spihì, /Ti meddhi n'artis eci p'ummon ego." (Girl, how do you sleep alone? Alone I sleep there too. One flea goes inside your ear, and another where I want it. Let another bite you that breast, and the other below, your navel. May cold come out of your soul, for you did not come there where I was)."
On the centenary of Pier Paolo Pasolini's birth, the Notte della Taranta Foundation deemed it fitting to pay homage to the researcher, poet, writer, director, anthologist, drawing from his Canzoniere Italiano. The Orchestra Popolare Notte della Taranta and master concertmaster Dardust chose, from the Puglie section, three songs: one from Alberona in the province of Foggia, Piangi, misera mia, che so soldato; one from the Gargano, Vurria salì 'ncil' a se putess; and one in Terra d'Otranto grico, En tu' pa tos astèrio a' tton aghèra.
Alberona song Piangi, misera mia, che so soldato
Piangi, misera mia, che so soldato, (Weep, O poor thing, that I am a soldier,)
Piangi la libertà c'aggio perduto! (Weep for the freedom I have lost!)
Pe tre anni a servì so ubliato, (For three years to serve I am obliged,)
I seek mercy and find no one to help me. (I seek mercy and find no one to help me.)
Di notte e iorno vaio sempre armato, (By night and day I always go armed,)
vini compagnio mio a dar la muta! (come my comrade to relieve me!)
While I eat pu cumpagno a lato, (While I eat with my comrade at my side)
I cry, nennella mia, that I have lost you! (I cry, my child, that I have lost you!)
Gargano song Vurria salì 'ncil' a se putess
Vurria salì 'ncil' a se putess (I'd like to go up to heaven if I could,)
pe nna scalett de tremila pass, (for a ladder of three thousand steps)
vurria ca la scaletta ce rumpess (I wish the ladder would break)
e 'mbrazz' a la nenna mij me truess. ( and in the arms of my nenna I would find myself.)
Terra d'Otranto song En tu' pa tos astèrio a' tton aghèra
En tu' pa tos astèrio a' tton aghèra (I didn't tell the stars in the sky)
'de tu èliu, pu ppa prama canonì: (nor to the sun that everything sees:)
to noma tto cratenno essu 'ss emèna, (I keep the name within me)
ce manehà i cardìa-mmu tto torì. (And my heart alone sees it).
Ma pan astèri t'asterìu cuntèi (But every star to the star tells)
'es all hrusò-mmu mea 'ss to scotinò, (Of my great treasure in the dark)
ce iglio, pu crivinnete, mo' lèi, (And the sun, which hides, tells me,)
milonta m'o fengàri-mmu calò. (speaking to the moon my beautiful).
Ta fidda o lèun tos fiùri, travutonta (The leaves tell it to the flowers,)
'ss tin talassa, pu pane tta nerà; (singing to the sea, where the waters go;)
ce ta puddìa mu lèune travutonta: (and the birds tell me by singing:)
mattese na 'capisi mia forà. (learned to love once).
En tu 'pa mai to noma to glicèo, (I did not say mail the sweet name,)
ce ghì ce aghèra mu lèune fonerà; (and heaven and earth tell me openly:)
a' mea 'ss tus fiùru miristù pu steo, (amidst the fragrant flowers where I stand,)
oticanè mu lèi: s'agapà. (He tells me everything: he loves you!).
Pier Paolo Pasolini, Canzoniere italiano, Anthology of popular poetry, preface by Alberto Maria Cirese; Garzanti, Milan, 2019
STAGE LUMINARIES SCENOGRAPHY
Impressive is the ferrous steel structure that reaches a height of 17 meters for this edition. The stage on which the artists will perform is 33 meters long and 19 meters wide. Big numbers for the production of the concertone and for the realization not only of the structure, but also for the videoled set-up: 200sqm. distributed between the set and the audience and managed by 2 media servers and 1 video director, all with 4k resolution.
Suggestions of colors and lights on the stage also with the luminaries made by Mariano Light: 600sqm of lights and 38 thousand LEDs that will compose a unique and extraordinary frame around a very special picture. A "space" journey that will ideally furrow the perspective galleries of the luminarias that animate the patronal festivals of Salento. Predominant colors on stage: white and small blue hints. The set design is by Marco Calzavara
SALENTINE COMPANIES FOR THE LOOK
It is Rosanna Calcagnile, founder of Salento's first design academy in Lecce in 1984, who signed the dresses of Consuelo Alfieri, Alessandra Caiulo, Stefania Morciano and Enza Pagliara. The costume designer worked with Santa Scioscio, lecturer in design, and Dolores Mauro, lecturer in "Alta Moda sartoriale" technique, to make the outfits for the female voices. For Rosanna Calcagnile, "The "Notte della Taranta" project, after a necessary dialogue with the female artists, intends to express, through an accurate analysis of material research, those aesthetic values of craftsmanship and design in full respect of the body in order to give the final product, without mortifying its wearability and gesture in the context of the chosen spaces, that new value of uniqueness."
The singers of the Popular Orchestra will wear the jewelry made by Gianni De Benedittis for Futuro Remoto all silver and gold pieces, designed in 3D and handmade with the technique of microfusion and pressing form, with experimental interventions of ethical silver and gold, respecting the principle of sustainability. "The jewelry I have chosen for the Notte della Taranta," De Benedittis explains, "is inspired by myth, which has always accompanied music in all its expressions: not only as tale and legend, but also as invention, construction and journey of renewed knowledge, for the recovery of those distant roots that make the rhythm of the heart beat.
Completing the image and look of the artists are the hairstyles and make-up by Officina Paar, which for the third consecutive year is an official partner for La Notte della Taranta. For the Corps de Ballet, they opted for a contamination of styles, from the nude look to the classic Make-up glow, highlighting the mouth with a dark red lipstick. The hairlook, on the other hand, will have a very natural effect, with a double texture, wet effect on the top and maximum freedom of movement and expression on the lengths. For the voices of the Popular Orchestra La Notte della Taranta, on the other hand, the style will be clean and essential with details that will characterize and personalize everything and some " surprise" effects. Here is the busy staff for the long Notte della Taranta. Make-up Artis: Valentina Pagano, Chiara Longo, Deborah Andretta, Noemi Vetrugno. Hair stylists: Roberta Apos, Carla Marti, Nico Anglani, Angela Loparco, Elisa Santoro, Renata Diella, Sabrina Giussani, Stefano Spinetta, Pasquale Santantonio.
The choice of costumes for the Corps de Ballet is by choreographer Irma di Paola and coordination by Vinicio Attanasi, who also made the original hats that are the protagonists of the choreographic picture on the theme of Fuecu, the powerful pizzica written by Daniele Durante to celebrate the Focàra of Novoli.
CULTURAL ECOLOGY: THE OLIVE TREES OF TARANTA PARK IS BORN
The Parco Ulivi della Taranta is born, an expanse of 1,500 new trees that will be planted thanks to the adoption of olive trees by the artists and the audience that invades the squares of the Itinerant Festival every year to the rhythm of pizzica.
A project conceived by the Notte della Taranta Foundation in collaboration with Olivami, the nonprofit association that allows the adoption of an olive tree to help reforest the Xylella-affected Salento. A new form of sustainable and participatory olive growing that offers the opportunity for everyone to remotely adopt one or more olive trees, obtaining an annual supply of Evo oil with certified provenance and quality. For every olive tree that is adopted, Olivami & Taranta plants a new generation olive tree.
Through the adoption of the first 100 olive trees, Fondazione La Notte della Taranta has created the first park in Carpignano Salentino that can be visited at any time of the year, and is easily recognizable thanks to the sign and name plates hung on the trees and bearing the names of the Festival and Concertone artists. The initiative aims to contribute in the long run to offsetting CO2 emissions.
The "Taranta Park" project will feature the planting of a symbolic tree in each of the 12 municipalities of Salento's Grecìa region. Through the QR code, a green path will open that will lead visitors into the park, on a vast plot of land in Carpignano salentino, where young olive trees will restore the landscape line destroyed by the Xylella bacteria to Salento.
Olivami is an association registered with RUNTS (single national third sector register) committed to the reforestation of the Salento countryside destroyed by Xyella. By promoting the adoption of olive trees, the Olivami association enables companies, organizations and institutions to contribute to the rebirth of olive growing in Salento by financing the planting of new olive trees to replace those affected by Xylella.
Olivami is an association registered with RUNTS (single national third sector register) committed to the reforestation of the Salento countryside destroyed by Xyella. Through promoting the adoption of olive trees, the Olivami association enables companies, organizations and institutions to contribute to the rebirth of olive growing in Salento by financing the planting of new olive trees to replace those affected by Xylella. For every olive tree that is adopted, Olivami plants a new generation of olive trees tolerant to the Xylella fastidiosa bacteria. The olive trees will be led by farmers who have decided to join the project by planting new olive trees.
You can make the adoption directly from the association's website www.olivami.com, selecting the quantity and species of trees you want to adopt. Immediately after adoption you will receive a confirmation e-mail with the adoption certificate.
PRECONCERTON August 27, 2022 from 8:30 to 10 p.m.
The Taranters will open the Pre-concert on Saturday, August 27 at 8:30 pm. After the conclusion of the MATRIA project carried out by the Apulia Region and the La Notte della Taranta Foundation, the students of the Salvatore Trinchese High Secondary Education Institute in Martano will take the stage to perform their repertoire in the Greek language. The Taranters are: Davide Terracciano, Emanuele Castrignanò, Luca Sergio on tambourines; Daniele Palumbo on percussion; Luca Aprile, Francesco Lefonso, Gaetano Rescio, acoustic guitars; Gianluigi Marcianò, electric guitar; Alessandro Sergio, clarinet and sax; Domenico Pellegrino, electronic keyboard; Francesca Cezza, Matilde Allegretti, Antonio Cannazza, solo voices; Giacinta Calò, Letizia Calò, Francesca Arcuti, Gilda Vacca, Valentina De Campi, voices; Aurora Curlante, Francesca Pasca, Helena Corlianò, Laura Castrignanò, Paolo Miceli, dancersǝ.
Après La Classe
It will be Après La Classe with their energy who will be the protagonists of the Pre-concert. The band, originally from Aradeo, in the province of Lecce, is composed of Cesko (vocals, synth, guitars), Puccia (vocals, accordion, keyboards), Combass (bass, backing vocals), joined by Gianmarco Serra, Alex Ricci and Paco Carrieri. After years of playing on stages between Italy and the rest of the world, they have changed their sound over time to a kind of Dub-Rock with Electro-Rock contaminations. The band also wrote and sang songs in French, the singer's native language.
On the mega stage in Melpignano, Après La Classe will drag the audience with their hit songs and those from their latest record Santa Marilena in which they collaborated with Didy, DJ Gruff, Manu Chau,Piotta, The Yorker, Alborosie.
The Notte della Taranta is becoming more and more sustainable, thanks to Acquedotto Pugliese (AQP), which again this year is alongside the Foundation in bringing about a change in environmental awareness in which music, artists, the audience and the communities, which host and experience the events, are the protagonists of change. In fact, 8 stations, 7 in the Concertone audience area and 1 backstage, will be installed for public water supply. "An event under the banner of culture and sustainability, to enhance," explains Tina De Francesco, AQP board member, "an artistic encounter full of life, that of music and water. During the dress rehearsal on August 26 and the big concert on August 27, Acquedotto Pugliese will distribute tap water in the concert area and in the area reserved for guests, using dispensers with biodegradable disposable cups. Involving such a large audience in one of the most significant events on popular culture in Europe will also allow to carry on the awareness campaign on the good practice of consuming tap water, which ensures well-being for the person and also for the environment, thanks to the reduction of material and energy use. Water is a common good, a shared value, a precious resource and using it in the best way," the councilwoman concludes, "is everyone's responsibility.
For the mobility of the artists of the Notte della Taranta, the De Mariani Group has provided a fleet of 10 Mercedes cars. The fleet is composed as follows: a CLA 250 and GLA 250 passenger car with which the driver can choose to travel full eletric, taking advantage of the battery charge; 2 CLS 300 D (diesel with electric motor combined); and two GLC 300E passenger cars, cars that can safely transit the ZTL if one chooses to drive fully electric. Also given are two models that represent an extraordinary innovation; GLE 350 Coupe; electric and diesel engine with great power combined with 4matic all-wheel drive and finally 2 GLB 200D 4 Matic cars. All cars depicted the logo of La Notte della Taranta. The engine of these cars provided by DMJ is assisted if necessary by the electric motor so as to achieve performance that combines driving pleasure and comfort with greatly reduced fuel consumption and emissions.
An operations room is set up inside the former Augustinian convent where the Police Forces, will ensure the smooth running of the event with the help of a sophisticated video surveillance system dedicated and connected to the municipal video surveillance system. More than 200 FFOO officers and 300 Civil Defense personnel (with the provincial Civil Defense Coordination) and volunteer service, who will man the accesses to the event area near the gates. Five fire brigade stations will also be operational.
It is Fi.Fa. Security Network, a leading Marche-based company in the field of integrated security, a point of reference for the surveillance and management of large events nationwide, will guarantee the activities necessary for the safe conduct of the La Notte della Taranta event. More than 100 operators in the area are employed throughout the period of the event in the various services: control and setting up of performance areas, fire control, management of public entry and exit flows, access control and garrisoning of sensitive areas and accompanying artists. Also for the evening of the Concertone, Fi.Fa. will guarantee access to restricted areas.
The 118 health plan will be prepared to deal with any rescue emergencies within the La Notte della Taranta event. About 200 volunteers will be employed between 118 and the Italian Red Cross. In the area of the "Health Camp" of about 400 square meters with a total of 26 beds two of which are monitored for the most serious cases (red codes), there will be 4 pneumatic tents of the Italian Red Cross (green hospitalizations) - 1 station for small surgery, 1 triage area tent- 1 pneumatic tent for red codes- 1 118 ambulance, 1 ALS 118 ambulance, 2 CRI ambulances . There will be 7 peripheral ambulance stations.
https://www.dropbox.com/scl/fo/dt6m21d596fvb3od151y4/h?dl=0&rlkey=qfvmw0zi4usx1ljjm2cjssebf photo conference