To mark the 50th anniversary of the Cantiere, the 25th anniversary of the Palazzo Ricci Academy, and the 100th birthday of Hans Werner Henze, the seven universities in North Rhine-Westphalia are collaborating with the Cantiere on a new production of “Don Chisciotte della Mancia.” The production is directed by Michael Dissmeier, who teaches at the Detmold University of Music, with musical direction by Italian conductor Marco Angius, a renowned expert in contemporary music. Students at the Düsseldorf Art Academy are designing the sets and costumes under the direction of Lena Newton, Ruth Groß, and Hans Diernberger.
This new production is a unique, cross-border collaborative effort between North Rhine-Westphalia’s music and art colleges, the Palazzo Ricci Academy, and the Italian Cantiere Foundation, which is responsible for the set design and, together with the Teatro Poliziano, provides a very special performance venue.
This deliberate return to the work that, as early as 1976, symbolized the Cantiere’s new beginning is far more than a mere reminiscence. Rather, Henze’s original idea of a collective, experimental artistic practice is carried forward under the conditions of the present and transposed into a European context. Aesthetically, too, the work proves to be accessible: its open, non-realistic dramaturgy follows an associative logic that allows for diverse perspectives and encourages individual artistic styles. The fact that the vocal parts are based on classical Mozart roles also makes the opera particularly well-suited for work with students. In Henze’s adaptation, this structure is deliberately emphasized—as an invitation to an experimental engagement with reality and
fiction, and as a plea for artistic freedom. It is precisely here that the work, the festival’s concept, and a contemporary perspective converge to form a shared space for discourse. The character of Don Chisciotte, like Henze himself, embodies an artistic idealism that challenges seemingly rigid social and institutional structures. In an era marked by political upheaval, social tensions, and the search for new forms of coexistence, this “ ” momentum takes on a new urgency. The project in Montepulciano thus exemplifies the potential inherent in art that understands itself as a collective, boundary-crossing process: It conceives of artistic practice not merely as a reflection of reality, but as an active force in shaping it—and thus sends a signal that extends far beyond the local context. The performance will be accompanied by an international academic conference to be held in the premises of Palazzo Ricci.
Performances
Accompanying Program and Conference: July 17–18, 2026
Revivals

La Contessa
La Duchessa inglese, Visit from the Contessa
Conte Don Calafrone, a Country Aristocrat
Don Platone, a country nobleman
Don Chisciotte, a knight-errant
Sancho Panza, Don Quixote’s squire
Carmosina, the Countess’s maid
Cardolella, Innkeeper
Flutes
Oboe, English horn
Clarinet, Bass Clarinet
Bassoon, contrabassoon
Drums
Mandolin
Guitar
Piano, tambourine, small organ
Violin, Viola
Cello
Double bass