Museo: Mostra Teatralità - Architettura per la meraviglia

Farnese Theatre, Parma - 1617-1619, designed by Giovan Battista Aleotti, also known as l'Argenta

This hall represents a further step towards the definition of the "all'italiana" theatre model that would dominate theatrical architecture in the following centuries. Built by l'Argenta for a visit to Parma by Cosimo II de' Medici, it was actually inaugurated only nine years after the completion of the works, in 1628. Saturated with Baroque aesthetics, the Farnese Theatre was equipped with very complex stage machinery (we are at the dawn of the great season of Italian Baroque scenography) that made its use quite difficult, to the point that in the second half of the 17th century, the Farnese family built a smaller theatre where staging performances was easier. The layout of the auditorium is U-shaped, like in the Sabbioneta theatre, but the few, small rows of steps planned by Scamozzi at Sabbioneta are multiplied in the Argenta project, representing a sort of transition between the classical cavea and modern auditoriums.

Teatro Olimpico, Vicenza - 1580-1585 based on projects by Andrea Palladio and Vincenzo Scamozzi

This is the first indoor theater in history. It was designed by Andrea Palladio and built between 1580 and 1585. Upon Palladio's death, the direction of the works passed into the hands of Vincenzo Scamozzi, who also designed the bold lines of the scene's escape. It is a Roman theater built inside a building that was disused at the time: except that instead of marble and stone, Palladio used wood painted in fake marble. At the time, it was fashionable among artists and intellectuals to interpret classical texts: the Accademia degli Olimpici (of which Palladio was one of the animators) asked the municipality of Vicenza for a space to create a hall specifically suited to this type of performance. This is why the structure of the Olimpico follows the classical one with the semicircular cavea, the painted ceiling, the orchestra and the sumptuously decorated skené. But the treasure of this theatre is the monumental scenography, with the three doors (typical of the classical scaena frons) whose vanishing lines are designed like a manual of perspective, to the point that wherever you are seated in the cavea you can see the streets beyond the doors all the way to the end.

Procuratie of Venice - 12th century / 16th and 17th century / 1800

The Procuratie of Venice are three historic buildings located in Piazza San Marco, once the seat of the Procurators of San Marco, high officials of the Republic of Venice. They are divided into the Procuratie Vecchie, the Procuratie Nuove and the Ala Napoleonica. The Procuratie Vecchie (north side of the square) date back to the 12th century and feature a long portico with elegant arches. The Procuratie Nuove (south side), built between the 16th and 17th centuries, have a more elaborate Renaissance style. The Ala Napoleonica, added in the 19th century, closes the square to the west. Today they house historic cafés, museums and the headquarters of important institutions, including the Museo Correr and the Fondazione Generali. Their architecture symbolizes the power of the Serenissima.

Basilica Palladiana, Vicenza - 14th - 16th century

It is one of the symbols of Vicenza, a masterpiece by the architect Andrea Palladio. Originally a medieval palace, it was transformed in the 16th century with the addition of the famous Renaissance-style loggia. The structure is characterized by elegant Serlian arches, which give harmony and lightness to the façade. The vaulted roof in green copper recalls the overturned hull of a ship. The building housed the city magistrates and was a center of public life. Today it hosts important exhibitions and cultural events. The name "Basilica" has no religious meaning, but recalls the civil use of ancient Roman buildings. Its beauty and architectural innovation have earned it UNESCO recognition. It is one of the most representative examples of the Palladian style. The square it overlooks enhances its grandeur and refinement.

San Giorgio Maggiore, Venice - 1566 designed by Andrea Palladio

It is a famous basilica in Venice, located on the island of the same name in front of Piazza San Marco, designed by the Renaissance architect Andrea Palladio and completed after his death. The church has a classical façade in white marble, inspired by Roman temples, with a harmonious balance between columns and pediments. The interior, in the shape of a Latin cross, is characterized by large spaces and a refined play of light. The tall and slender bell tower offers an extraordinary panoramic view of Venice. Among the works housed there are paintings by Tintoretto, including The Last Supper. The church belongs to the Benedictine order and retains a strong monastic vocation. San Giorgio Maggiore perfectly embodies the Palladian architectural ideal, based on proportion and classicism.

Palazzo Grimani, Venice - 16th century

Owned by the powerful Grimani family until the 19th century (it was purchased at the end of the 15th century by Antonio Grimani, who later became Doge of the Republic of Venice), it is one of the most sumptuous Venetian palaces, adorned with a monumental staircase decorated by the Mannerist painter Francesco Zuccari. Located behind the church of Santa Maria Formosa, it has been the subject of various architectural modifications, from Baroque to Neoclassical. For some years it has been home to an important museum and hosts various entertainment activities.

Modern Theater, Sabbioneta (Mantua) - 1590 designed by Vincenzo Scamozzi

When Vespasiano Gonzaga, at the end of the sixteenth century, wanted to create his ideal city in Sabbioneta, he called Vincenzo Scamozzi asking him to design and build a "modern theater". Scamozzi, who had also worked with Palladio at the Olimpico in Vicenza, thought of a theater completely different from the classical ones. No reference to the Greco-Latin architectural structure and a stage with only one perspective escape route. The stalls of the theater in Sabbioneta (at the time it was obviously called Modern, today it is called Ancient...) are not semicircular, but U-shaped with rounded tips: a first step towards the horseshoe-shaped stalls typical of the Italian theater. Furthermore, even though there were no boxes yet (they would be introduced half a century later), Scamozzi called on the students of Paolo Veronese's workshop to paint fake spectators leaning over a balustrade on the walls of the theatre. This is why the theatre in Sabbioneta, in addition to being the first one built in a purpose-built building, paves the way for the theatre architecture of the following centuries.

Reggia di Venaria, Turin - 1659-1669 by Amedeo di Castellamonte

The Reggia di Venaria is a symbol of the opulence of the House of Savoy, conceived with a specific purpose in mind: as its name suggests, it was intended to include a vast hunting park. Hunting was the favored pastime of monarchs at the time, particularly Charles Emmanuel II of Savoy, who commissioned the palace from architect Amedeo di Castellamonte, renowned for designing the Royal Palace of Turin and other predominantly military-style buildings. Due to its richness and variety, the Venaria Reale cannot simply be described as a castle or a fortress, yet a certain architectural austerity characterizes its structure and external appearance. The interiors, influenced by the Baroque climate of the time, maintain a level of sobriety. Meanwhile, the famous Galleria Grande (or Galleria di Diana), later created by the acclaimed architect Filippo Juvarra, celebrates the power of the entire palace with its magnificent Baroque grandeur.

Scientific Theater, Mantua - 1767-1769 by Antonio Galli da Bibiena

Conceived for scientific gatherings more than for spectacular occasions, the Scientific Theater of Mantua was created by Antonio Galli da Bibiena between 1767 and 1769. Despite having three tiers of boxes, its structure is not typically Italian as the layout of the stalls is bell-shaped rather than horseshoe-shaped. Another notable feature of this theater is that Bibiena himself took charge of the interior painting decorations. The facade, however, was designed by architect Giuseppe Piermarini, who would later design the Teatro alla Scala in Milan. On January 16, 1770, a renowned concert was held here by the fourteen-year-old Wolfgang Amadeus Mozart together with his father Leopold during his first trip to Italy.

Teatro Grande, Brescia - 1810 by Design of Luigi Canonica

The history of the Teatro Grande in Brescia spans three centuries and shows a series of layers typical of theatrical architecture. The current structure stands on the site where the city's first theater was built in 1664. As was customary at the time, the theater was located within a palace, lacking a genuine facade. Throughout the 18th century, various architectural modifications altered the hall and the facade itself (of which only the large windows remain faithful to the original) until the construction of the grand staircase leading to the theater. Additional decorations and paintings have shaped its current state, featuring a horseshoe-shaped auditorium designed by the Milanese architect Luigi Canonica in 1810.

Teatro Fraschini, Pavia - 1771-1773 Designed by Antonio Galli da Bibiena

Like the Teatro Scientifico in Mantua, the current Teatro Fraschini in Pavia was designed by Antonio Galli da Bibiena. The history of this sumptuous hall (featuring three orders of boxes and a gallery with a bell-shaped floor of the stalls) is quite peculiar: it was constructed to avoid the whims of the owner of the city's only theater at the time, Giacomo Omodei. He imposed styles and schedules on the audience, prompting four noble Pavia citizens in 1771 to commission Bibiena for a new hall, which they named Teatro dei Quattro Nobili Cavalieri. In 1869, when the municipal administration of Pavia took over its management, the theater was renamed after the Pavia-born tenor Gaetano Fraschini, who had passed away two years earlier.

Court Theatre of the Royal Palace, Caserta - 1756-1769, Designed by Luigi Vanvitelli

Designed by Luigi Vanvitelli upon commission by Charles II in 1756, the Court Theatre of the Royal Palace of Caserta, conceived as a 'small San Carlo', was inaugurated for the 1769 carnival by Ferdinand and Carolina. It was meant exclusively for the entertainment of the Bourbon court residing at the palace and, as was customary at that time, it was designed to host both theatrical performances and, primarily, lavish balls. Like every classic Italian theatre, it features a horseshoe-shaped auditorium and five tiers of boxes, but due to its 'private' nature, it is considerably smaller: it can accommodate no more than five hundred people.

Hunting Lodge, Stupinigi - 1729-1733 by Design of Filippo Juvarra

A true gem of the Savoy residences complex, the Hunting Lodge of Stupinigi is perhaps Filippo Juvarra's masterpiece. Built as the centerpiece of a hunting park between 1729 and 1733, it stands on a pre-existing medieval castle. From its very conception, the building extends far beyond its hunting purpose, which remains a mere convenient designation: much like the Palace of Venaria, the Lodge of Stupinigi is a tribute to the power of the House of Savoy, and its arrangement into numerous halls and residences demonstrates this extensively. However, unlike the Palace of Venaria, where various architectural influences are evident, here Juvarra’s subtly baroque style appears in its pure form.

Gran Teatro La Fenice, Venice - 1787-1792 by Giannantonio Selva

To construct the theater behind the Frezzeria in San Marco, a public competition was announced by the Nobile Società dei Palchettisti, a group of music enthusiasts who in 1787 could not renew their contract with an old Venetian theater called San Benedetto (in Campo San Luca). The architectural challenge posed by the new theater was that it had to fit in a predetermined irregular space where it was impossible to predict the facade in line with the entrance to the pit and, therefore, the stage. According to the call, the design had to include five tiers of boxes with no less than thirty-five boxes per tier and had to ensure "excellent visibility" and "wonderful acoustics," with the winner promised "a gold medallion weighing three hundred zecchini" as well as a "fair compensation" for overseeing the works. Giannantonio Selva won the competition, later becoming one of the leading Venetian exponents of neoclassicism in garden architecture. Two devastating fires, in 1836 and 1996, did not compromise the original design: the reconstructions were carried out in a strictly philological manner. At Gran Teatro La Fenice in Venice, great composers and impresarios used to organize the world premieres of their operas, relying on an expert and benevolent audience. Thus, premieres included, among others, Rossini's "Tancredi and Semiramide," Bellini's "I Capuleti e i Montecchi," Donizetti's "Belisario," Verdi's "Rigoletto" and "La Traviata," Leoncavallo's "La Bohème," Mascagni's "Le maschere," and major works of Maderna, Nono, and Berio in the 20th century, as well as the memorable world premiere of Igor Stravinsky's "The Rake's Progress."

Greenhouses of the Castle of Racconigi - 1836-1842 designed by Pelagio Palagi

The Racconigi Castle, with its elegant historic greenhouses, is an architectural and naturalistic gem of Piedmont. The greenhouses, once used to cultivate exotic plants, represent a refined example of glass and iron engineering. Here, Pelagio Palagi, a renowned 19th-century architect and decorator, worked and contributed to transforming the castle into a royal residence. Palagi designed furniture, decorations, and even some landscape elements of the park. His neoclassical style is reflected in the elegant lines of the greenhouses and the castle’s interiors.

Theatre della Pergola, Florence - 1657, designed by Ferdinando Tacca

This is the first great, sumptuous "all'italiana" theatre in history. Built by architect Ferdinando Tacca, it was inaugurated, although the work was not yet completed, for the carnival of 1657 with the comic opera Il podestà di Colognole by Giovanni Andrea Moniglia. The absolute novelties of the design consist of the horseshoe-shaped layout of the auditorium, the creation of three tiers of boxes (which would become four in the following centuries) enclosed by columns and wooden partitions, and finally the equivalence between the width of the stage space and that of the auditorium (the proscenium marked an ideal continuity between actors and audience). These measures were driven by economic needs: the horseshoe shape and the boxes allowed for a greater number of spectators compared to a simple semicircular or U-shaped auditorium, while maintaining excellent visibility. Additionally, the equivalence of the spaces and the wooden partitions of the boxes ensured perfect acoustics. From that point on, theatres in the West would be built this way until the early 20th century. Everywhere this model is referred to as "all'italiana".

Palazzo Te, Mantua - 1524-1534 designed by Giulio Romano

Conceived as a sort of monument to the greatness and power of the Gonzaga family, Palazzo Te is one of the cornerstones of Renaissance architecture. Built in the early decades of the sixteenth century by Giulio Romano, it reflects the artistic temperament of the great architect and painter. The rigid Renaissance structure leaves room for Mannerist decorations: its charm derives precisely from the apparent contradiction between the rigor of the external forms and the richness of the paintings that adorn the interior spaces.

Teatro Regio, Parma - 1821-1829 Designed by Nicola Bettoli

This structure was built between 1821 and 1829 when it was considered that the old Teatro Ducale, dating back to the late 1600s, was no longer suitable for the needs of the city. Commissioned directly by Luisa of Austria, Duchess of Parma, the court architect Nicola Bettoli designed a classic Italian-style theater capable of hosting over a thousand spectators, with an impressive neoclassical facade. It is considered one of the temples of Italian lyrical tradition.

Teatro Regio, Turin - 1740-1973 Designed by Benedetto Alfieri and Carlo Mollino

The current Teatro Regio in Turin was rebuilt in 1973 based on a design by Carlo Mollino and Marcello Zavelani Rossi, following a fire in 1936 that completely destroyed the previous structure, which had been inaugurated in 1740 based on a design by Benedetto Alfieri and was repeatedly altered throughout the 19th century. It is a modern-shaped hall with a tiered seating area (typical of the 20th century) and a large orchestra pit, designed by the Turin architect Carlo Mollino with the contribution of a team of engineers.

Teatro alla Scala, Milan - 1778 by Giuseppe Piermarini's Design

Opened in 1778, the Teatro alla Scala's first performance featured Antonio Salieri's not particularly memorable opera "L'Europa riconosciuta." This iconic venue was the brainchild of the great architect Giuseppe Piermarini. Its name pays homage to the Church of Santa Maria alla Scala, which was demolished to make way for the theater. The church was named after Regina della Scala, a prominent and enlightened figure in 14th-century Milanese politics and finance. The construction costs were covered by the Habsburg Empire—Milan being part of its territory—and the noble families of Milan through the purchase of private boxes. During the 19th century, the economic sustainability of this venue, which stands alongside the San Carlo in Naples as one of the world's most famous theaters, relied heavily on auxiliary activities such as dining services and gambling. Teatro alla Scala's prosperity in the early 19th century is attributed to a visionary impresario, Domenico Barbaja, who gained his business acumen managing a theater café and gambling halls before overseeing operations at the San Carlo in Naples, as well as the Theater am Kärntnertor and the Theater an der Wien in Vienna. Since 1778, numerous restorations have taken place, though none have significantly altered Piermarini's original design, except perhaps the latest renovation completed in 2004, which introduced a highly advanced new stage tower with substantial architectural volumes. Additionally, worth noting is the installation of a magnificent chandelier consisting of eighty-four oil lamps at the center of the auditorium ceiling in 1823, designed by scenographer Alessandro Sanquirico. This chandelier remained until a devastating bombing in 1943.

Teatro Valle, Rome - 1727, Designed by Tommaso Morelli

Teatro Valle in Rome, like the Carignano in Turin, is a palace theater: its structure is entirely housed within the palace that holds it, lacking a façade that identifies its theatrical purpose. It was commissioned in 1727 by Camillo Capranica and designed by architect Tommaso Morelli, but, as is often the case, the current structure is the result of various renovations, the most significant of which was carried out by architect Giuseppe Valadier in 1818, following comprehensive rearrangement of the surrounding buildings. Teatro Valle has hosted the premieres of many performances that have shaped theater history, the most significant surely being Luigi Pirandello's Six Characters in Search of an Author in 1921: an infamous failure with notable protests from the audience.

Teatro Politeama Garibaldi, Palermo - 1867-1891 Designed by Giuseppe Damiani Almeyda

One of the symbols of the city, located in Piazza Ruggero Settimo, is an example of neoclassical and Renaissance style. The façade of the Teatro Politeama Garibaldi is marked by a grand triumphal arch topped with a majestic bronze quadriga depicting Apollo and the chariot of Victory. Originally designed for popular and entertainment shows, it now hosts the Sicilian Symphony Orchestra. The theater has a seating capacity of approximately 950 and boasts excellent acoustics. After extensive restoration, it has returned as a cultural hub for concerts, events, and performances.

Teatro Massimo, Palermo - 1875-1897 by Giovan Battista Filippo Basile and Ernesto Basile

Located in the heart of Umbertine Palermo, Teatro Massimo holds a unique distinction: it is the largest theater building in Italy and second only to the Opéra in Paris and the Staatsoper in Vienna in Europe. Its history is filled with ups and downs, closures, and reopenings. The original project, designed by Giovan Battista Filippo Basile, a Palermo architect with a solid neoclassical background, dates back to 1864, but it took over thirty years to reach its inauguration. After the death of the designer, the work was entrusted to his son Ernesto Basile, who was an esteemed architect inspired by liberty style. The two styles—neoclassical and liberty—coexist in this majestic theater; the former characterizes the exterior with its strong forms, while the latter is particularly evident in the interior spaces, especially the enormous stalls area and the two circular foyers that flank it. The building's exterior is marked by a monumental staircase leading to a façade with six columns supporting a tympanum, while a dome overlooks the hall.

Teatro Argentina, Rome - 1732 by Design of Girolamo Theodoli

Teatro Argentina in Rome was commissioned by Giuseppe Cesarini Sforza, a nobleman facing financial difficulties, by repurposing his real estate properties in the Sant'Eustachio district. Cesarini Sforza believed he could profit from a substantial loan requested from Pope Clement XII, Lorenzo Corsini, to construct the theater. However, the funds provided by the Church were limited: they did not yield profits for Cesarini Sforza and were insufficient to complete the common areas (foyer and gaming rooms) that were the main sources of income for theaters at the time. The original hall (a perfect Italian-style theater) was designed by architect Girolamo Theodoli and completed in 1731, with the inauguration taking place at the beginning of the following year. A famous painting by Giovanni Paolo Panini, housed at the Louvre, depicts one of Teatro Argentina's most important activities at that time: ballroom dances. It was in the 19th century that the theater was finally equipped with a foyer and common areas, while in 1927, Marcello Piacentini oversaw renovations that led to the creation of the entrance and upper floor rooms as they still appear to spectators today. Teatro Argentina has hosted countless significant debuts, most notably the premiere of Rossini's The Barber of Seville on February 20, 1816.

Palazzo Carignano, Turin - 17th Century Design by Guarino Guarini

It is one of the most important historical buildings in Turin and one of the most significant examples of Piedmontese Baroque architecture, with its characteristic wavy brick facade. Commissioned by the Carignano family, a cadet branch of the House of Savoy, it became their residence. In 1848, it hosted the Subalpine Parliament and later became the seat of the first Parliament of the Kingdom of Italy in 1861. Today, the palace is part of the National Museum of the Italian Risorgimento. Inside, it boasts exquisite frescoes and decorations, including the majestic Parliament Hall. The neoclassical rear facade was added in the 19th century. Palazzo Carignano is a UNESCO World Heritage Site and stands as a symbol of Italian unification history.

Teatro San Carlo, Naples - 1737, Designed by Antonio Medrano and Angelo Carasale

The Teatro San Carlo in Naples is traditionally considered the most beautiful theater in the world. Certainly, with its three thousand available seats at the time of its inauguration in 1737, it is one of the largest. It was designed by Giovanni Antonio Medrano and Angelo Carasale under the direct commission of King Charles III of Bourbon and is almost an annex of the royal residence: a private corridor directly connects the king's chambers to the royal box. Perhaps for this reason, it represents the identity of Naples, the place where monarchs entrusted their self-image. For example, when it burned down in 1816, the reigning king, Ferdinand I, had it rebuilt in record time: eleven months. Originally, each box was equipped with a mirror allowing spectators to wait and gauge the king's reaction in the royal box before applauding or booing an opera. In reality, it was a trick by which the sovereign could peer into the secrets that noble families kept in their boxes using his binoculars. Unlike almost all the great ancient theaters, the San Carlo has not undergone any significant reconstructions. Except, perhaps, the creation in 1809 of the immense ceiling canopy over the stalls painted by the three brothers Antonio, Giovanni, and Giuseppe Cammarano. The most fruitful season of the Teatro San Carlo is certainly the early 1800s, connected to the management of Domenico Barbaja (a remarkably talented impresario who also managed La Scala in Milan) and the genius of Gioacchino Rossini, who was what we might today call the "artistic director".

Palazzo Madama, Turin - 1718-1721 Designed by Filippo Juvarra

It is a remarkable structure that combines medieval and Baroque elements, bearing witness to centuries of transformations. Originally a Roman gate, it became a castle during the Middle Ages and later served as the residence of the Royal Madames in the 17th century. The architect Filippo Juvarra created the scenic Baroque facade in the 18th century. Today, it houses the Museo Civico d’Arte Antica, which features collections ranging from the Middle Ages to the Baroque era. Inside, visitors can admire fresco decorations, sculptures, and period furnishings. The palace is a UNESCO World Heritage Site and part of the network of Savoy Residences.

Temple of Segesta (Trapani) - 5th century BC

The Temple of Segesta is an imposing example of Doric architecture and one of the most fascinating archaeological sites in Sicily, it stands on a panoramic hill, offering a spectacular view of the surrounding countryside. Built by the Sicani or the Elimi, perhaps dedicated to an unidentified deity Aphrodite or Cybele, it remained unfinished. It has 36 columns about 10 meters high, well preserved despite the passing of the centuries. The peristyle measures about 61 x 26 meters, with harmonious proportions typical of the classical style. The absence of fluting on some columns indicates its incomplete state. Despite this, the temple maintains a majestic and balanced appearance.

Verona Arena - 1st century AD

The Verona Arena is an ancient Roman amphitheatre located in the heart of the city. Built in the 1st century AD, it is one of the best preserved elliptical amphitheatres in the world. Originally intended for gladiator fights and public shows, today it is famous for opera performances and concerts. The external façade was originally covered in white marble, but an earthquake in 1117 destroyed much of it. However, the internal structure remained intact and continues to offer extraordinary acoustics. Since 1913 it has hosted the famous Arena Opera Festival, attracting artists and spectators from all over the world.

Ara Pacis Augustae, Rome - 13 - 9 BC

The Ara Pacis Augustae is a monumental altar built between 13 and 9 BC to celebrate the peace established by Augustus after the military campaigns in Gaul and Spain. A masterpiece of Roman art, an example of classical balance and harmony, it was originally located in the Campus Martius and is now preserved in a museum designed by Richard Meier in Rome. The altar is enclosed by a marble enclosure decorated with refined reliefs, depicting mythological scenes and the procession of the imperial family. Particularly well-known are the panels with Aeneas sacrificing to the Penates and the seated Goddess Roma. The processional frieze shows senators, priests and members of the house of Augustus. The decoration includes plant motifs symbolizing fertility and prosperity. The Ara Pacis reflects Augustan propaganda, exalting the order and peace of the golden age.

Greek Theater, Segesta (Trapani) - Late 3rd century - early 2nd century BC

The Greek theater of Segesta, most likely built towards the end of the 3rd century BC, remains one of the best-preserved examples to this day. Its unique feature lies in its construction on a slope positioned directly facing the Gulf of Castellammare. In ancient Greek times, the sea view was obscured by the structure of the skene, but today, this "marine backdrop" has become its strongest asset. In recent years, another captivating element has been added: performances are now staged at dawn. This combination of historical architecture and natural scenery creates a truly enchanting theatrical experience.

Villa Palagonia, Bagheria (Palermo) - 17th Century

It is one of the most fascinating villas in Sicily, famous for its bizarre decorations. Built by the Prince of Palagonia, it is known for the grotesque statues that adorn the garden and facade. The architecture is in Sicilian Baroque style, with interiors decorated with stuccoes, frescoes, and mirrors. The main hall features a frescoed ceiling and ceramic tile floors. The statues, depicting monstrous and caricatured figures, have fueled legends about the villa. The residence has captivated travelers and writers, including Goethe, who was deeply impressed by it.