Behind the scenes of the Festival of Fraternity lies an invisible network of young people and professionals who have given their time, skills and hearts without asking for anything in return.
by Paolo Lòriga
Cyril Gayed is a young Egyptian who studied finance and international relations in Paris, where he now works in a bank as a client advisor. He took some time off and arrived in Loppiano on Saturday, April 25 to lend a hand in organising the three-day (1–3) event for May Day 2026. He paid for his own travel and accommodation and worked tirelessly the whole time. “It’s not the best festival in the world, but there’s something different about it that makes me happy,” he explains confidently. He was in the little town last year. “This is my home, and when there’s a party at home, I can’t miss it.”
Cyril, having just arrived in Loppiano to help with the May Day event.
A team of young professionals
Behind the scenes at the 1 May event was Sofia Gherardeschi, who studied Theatre, Music and Art Production at university in her native Florence. She has been part of a theatre company for 10 years and has produced several plays, songs and dances. In Loppiano, she was part of the production team, handling logistics, accommodation and the management of the artists backstage. “It’s a professional experience that helps me grow. Loppiano’s May Day is something special because of the complexity of the programme, and important because of the message it conveys.” She worked for free, but “I did it with all my heart.”
The May Day event that has just concluded was particularly successful. The fine spring weather brightened up the three days. The programme was rich and varied, engaging and full of depth. Above all, both “the artistic quality of the songs, dances, choreography and stage design” and “the content of the dialogues and testimonies” were appreciated. This was the view of the young participants. A key factor in the event’s success was the generous hard work put in by all the ‘builders’. This is nothing new for Primo Maggio, but this time the scale was greater, coupled with a team spirit that allowed obstacles and unforeseen events to be tackled without any fuss.
Returning to the organising team, Annachiara Fenaroli, from Bergamo, a recent graduate in Art, Music and Performing Arts from the Catholic University of Brescia, has been working on the project since July 2025. She arrived on the evening of the 29th and worked on the creative side of everything that happens on stage to convey stories and emotions through words, music and gestures. “It was an intense and long journey, but in the end it was magical! It was a learning experience, because I met high-calibre professionals, I learnt a working method that is always open to dialogue, and I realised even more that this is the work I want to do for the rest of my life.” Working for free? “I wanted to repay Loppiano a little.”
The technical coordinator’s “right-hand man”—the one who sets up the stage, wings, lighting, sound and video—is 20-year old Emanuele Fattore, a Roman from the Castelli area, a sound engineer and a student on the Advanced Music Course at the special school in Saluzzo (Cuneo). “Technical direction is my passion. I wanted to put myself to the test and gain practical experience in what I believe in, by lending a hand on May Day.”
Antonella Lombardo behind the scenes at the Auditorium
Experience, skills and career put at the service of young people
Emanuele’s “boss” is Francesco Bertolini (known to everyone as Gas Gas), a Roman sound and entertainment engineer, with a master’s degree from the University of Tor Vergata. He arrived on 27 April and has had his work cut out for him. “It was a challenge to work with so many people in a calm manner and ensure an artistic standard capable of making such an emotional impact on young people and their personal lives.” How much did he invest in the May Day event? “8,000 euros if the equipment had been hired, and another 8,000 if I’d charged for our work.” The reasons? “Two. May Day can change people’s lives, and I’d like to make young people fall in love with work done to a high standard”. A show designer prepares the entire visual aspect of a concert. If you add that he is a seasoned professional with extensive experience in the world of opera, what is he doing at May Day, staying from 27 April to 3 May? The hire of the equipment he brought alone is worth €3,000. But this is the free contribution from Jean Paul Carradorì. “I believe in young people,” he explains, “and when I see young people like this, I want to lend a hand and set a small example to help them. Primo Maggio has drawn me in and moved me. And that is worth a great deal.”
Francesco Bertolini (right) with the technical team and the director
One of the authors of the content, texts and dialogue is Roberta Formisano, who works for a national television network but has been involved in putting together the May Day event since 2012. She could easily have put her own words into the mouths of the young presenters and actors, but instead “the script is the result of mutual listening and was written together with the two presenters and the four or five young people who helped create the videos and various parts of the programme”. She explains: “The theme of ‘roots’ forced us to grapple with finding the right words to use and seeking out questions that would express the world of young people, working on themselves and their insecurities.” In market terms, her fee would be around 3,000 euros, but she accepted only board and lodging. “It is rewarding to work with such a professional team, and I haven’t had such a powerful spiritual experience for several years.”
Three teachers, 30 female students and one male student, in Loppiano from 29 April until the evening of 1 May. All the choreographies (except one) were created specifically for May Day. Antonella Lombardo is the founder and director of the cultural association DanceLab Armonia, which is part of the Laboratorio Accademico Danza, established 40 years ago in Montecatini Terme (Pistoia). They have performed in various parts of the world, created choreographies at the Vatican, and held events in public squares, including in Bethlehem. How much have you invested? “The teachers who devised and produced the performances for May Day,” replies Antonella, “cost 60–70 euros an hour. There were dances, but also stage movements. It was intense work. I really couldn’t put a figure on our total contribution, but it’s significant.” Why invest in May Day? “Because it’s an event that stands out from all our other tours.”
It is particularly eagerly awaited by the girls (aged 18–20, and some as young as 14). The impact on them is enormous, because they experience the values of Loppiano first-hand, discover authentic relationships and what it means to live the Gospel. They return changed, and the benefit for the Workshop is extraordinary.”
Antonella Lombardo behind the scenes at the Auditorium
“An investment in values.”
But what would May Day be without artistic direction? Massimiliano Zanoni and Sara Brogi are in charge. He is a lecturer at the Polytechnic Universities of Milan and Turin in technology, performing arts, art and music; she left a permanent position at a national television broadcaster. Three years ago, they founded Coesioni, a company that produces shows and discovers and nurtures young artistic talent. ‘Primo Maggio,’ explains Sara, ‘is one of the main events where we can do this, with a commitment to always putting others at the heart of our work.’ She makes no secret of the fact that she really enjoys ‘teaching my craft to young people and then knowing that they’ve changed their studies to pursue my profession.’ Sara began working on the 2026 edition as early as June last year, Max in January, with weekly meetings and dedicating their free time and numerous weekends. They have invested their professional expertise, time and connections in Primo Maggio, even bringing in two singers (from London and Treviso) willing to work for free. Max estimates: “The total value of the work is around 60–80 thousand euros.” And he makes it clear straight away: “Primo Maggio is an investment in values; it’s part of the company’s mission. Besides, we like doing things that have a positive impact on the world, particularly on young people.” This is what has been gathered through conversations and interviews. A story that remains, however, still incomplete regarding that factor of “volunteering” which underpinned this year’s Primo Maggio. To all the volunteers, professionals and young people not mentioned in this article, our deepest thanks for making the impossible possible. Finally, thanks also to those who prayed, to those who offered up their suffering and pain, donors of an equally precious legacy.
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