Poetry and power, beauty and violence, memory and consent: the Anagoor Company takes on these themes with Virgilio Brucia in an unsettling prospective, entering the workshop of the intellectual who sung the advent of the Roman Empire. Indeed the figure of Publio Vrigilio Marone was marked by the prejudice of having been the poet for Augustus, who cancelled all remaining hope for the re-establishment of a Republic in Ancient Rome. A poet at the service of Imperial Ideology, in which Anagoor however sees cracks: the points of attack are two books fromthe Aeneid, those which Virgil read to Augustus, and which narrate the violence of the destruction of Ilion and the kingdom of Troy, the journey to the afterlife, the definitive caesura with the past, relegated to memory. Thus Virgilio Brucia becomes a chance to leaf through the relationship between art and power, the function of culture and memory, the imperial war, the violence and the rapport that Virgil, son of Mantova farmers, had with nature, an element which often appears both as protagonist and backdrop in the Latin poet's works and the creations of the company. An identification of Virgil with Aeneas, cadenced both by live choral music and ancient European and non-European traditions which embody the magic of the aoidos who first sang the epos of Troy and the Trojans, right up to the contemporary minimalism of John Tavener.