Polimero is a green ecological fable that reimagines the story of Pinocchio in a contemporary way — a kind of Pinocchio 2.0. Here, the wooden puppet becomes a plastic doll; inside the whale’s belly there is a mass of plastic waste, Mangiafuoco turns into a giant incinerator, and the puppet Polimero asks the Fairy to become biodegradable.
The idea for a fairy tale addressing plastic pollution and environmental destruction was born “between a glass of Sangiovese wine and a Romagnola piadina,” combining the irreverent irony of Giobbe Covatta with the compositional talent of Maestro Stefano Nanni, enriched by the viola performance of Danilo Rossi.
The result is a work that makes audiences laugh, imagine, reflect, and even become emotional — just like the finest fairy tales.

“A fairy tale is a kind of torture inflicted on children, and it usually reflects the historical period in which it was written. Polimero is a puppet-doll, just like Pinocchio, except he is made of plastic. Born in a plastic toy factory and raised surrounded by plastic, he tells the story of a plastic world. While the most famous Pinocchio tried to improve his own life and the lives of those around him — eventually asking the Fairy to become a real boy so he could stay close to Geppetto — our Polimero asks instead to become a biodegradable doll, hoping to avoid contributing to the pollution and destruction of our planet.”
— Giobbe Covatta

“Polimero is a musical fairy tale written for narrator, solo viola, string orchestra, percussion, and children’s choir. The music accompanies and comments on the text, sketching its contours and painting the personalities and inner worlds of the main characters through dedicated musical moments, themes, and changing timbral colors that evolve alongside the story. From a compositional perspective, the work is conceived almost like a suite of structured musical episodes — different from one another, yet sometimes connected through thematic quotations hidden within the contrapuntal texture, evoking recurring characters. The pieces flow seamlessly into one another through the narrated text, which is also supported by a sort of musical recitative.”
— Stefano Nanni