Italian theater
After the commedia dell'arte was created in Italy, Italians did not make a significant contribution to world culture for 200 years. Italy during this period of time was significantly weakened by internal political struggle.
Ancient Italian monuments were known in Europe; there, along with Roman antiquities, there were works of art that were created during the Renaissance. But there was no longer a rise in culture in Italy; Italians more often demonstrated the achievements of their ancestors.
During this period, Venice was the most attractive city in Italy. While the state was divided among several foreign powers, Venice remained an independent city under republican rule. Of course, the previous income from overseas trade was no longer there, but the Venetians did not let either Italy or Europe forget about their existence.
This city became a center of entertainment; the Venetian carnival lasted for six months. For this purpose, several theaters and many workshops for the production of masks operated in the city. People who came to this city wanted to see the Italy of the good old days.
The Comedy of Masks became nothing more than a museum spectacle, because the actors retained their skills, but played without the former public enthusiasm. The images of the comedy of masks did not correspond to real life and did not carry modern ideas.
At the very beginning of the 18th century in public and political life Changes are afoot in Italy. Some bourgeois reforms took place, and after the expansion of trade, the economy and culture gradually began to rise. Enlightenment ideology began to acquire a fairly strong position and penetrated into all areas of spiritual life.
The Italian theater needed to create literary comedy morals With its help, educators could defend their point of view on life, preserving the bright richness of colors familiar to the Italian public theatrical productions. But it wasn't that easy.
From what was said earlier, it is known that the actors of the Comedy of Masks were improvisers and did not know how to memorize a pre-written literary text. In addition, each actor played the same mask all his life and did not know how to create other images. In the comedy of masks, the characters each spoke in their own dialect, and the comedy of manners assumed a literary language. This, as everyone believed, was a means of cultural unification of the nation and state.
Goldoni
The first reform of the Italian theater was carried out by Carlo Goldoni (1707-1793) ( rice. 54). He was born into an intelligent family, in which everyone had long been interested in theater. Already at the age of 11 he composed his first play, and at the age of 12 he first appeared on stage. As Goldoni himself said, at the age of 15 he began to have thoughts that reforms were needed in the theater. He began to think about this after reading Machiavelli’s comedy Mandrake.
Rice. 54. Carlo Goldoni
Carlo himself could not carry out such reforms, because his parents first wanted him to become a doctor, and then sent him to university, where he studied to become a lawyer. At the age of 24, Goldoni graduated from his studies, and three years later, while working as a lawyer, he began to constantly write plays for the troupe of Giuseppe Imera, who worked at the San Samuele Theater, located in Venice. This continued from 1734 to 1743. The next five years were barren in literary terms, that is, Carlo wrote almost nothing. During this period, he made an attempt to establish himself as a lawyer, that is, he acquired a large practice in Pisa.
At the same time, a messenger came to him from the entrepreneur Giloramo Medebak with a job offer. And Goldoni could not resist the temptation. He entered into an agreement with Medebak, according to which he had to write 8 plays a year for the Venetian Theater of Sant'Angelo for five years.
Goldoni coped with this task. Moreover, when the theater had a difficult season, he wrote 16 comedies to improve its difficult situation! After that, he asked Medebak for a salary increase. But the stingy entrepreneur refused the playwright. Because of this, Goldoni, after the expiration of his contract, went to the San Luca Theater, where he worked from 1753 to 1762.
Goldoni decided to carry out the theatrical reform quickly and decisively. By this time he already had some dramatic experience. Nevertheless, he carried out the changes quite carefully and prudently.
To begin with, he created a play in which only one role was written entirely. It was a comedy Socialite, or Momolo, the soul of society." The production took place in 1738. After this, in 1743, Goldoni staged a play in which all the roles had already been written. But this was only the beginning of the reform. Since there were no actors who knew how to play pre-written roles, the playwright had to retrain or reteach a whole generation of new actors. For Goldoni this was not a big deal, because he was an excellent theater teacher and a tireless person. He completed the task he himself set, although it took several years.
The Italian playwright followed the reform scheme he invented. In 1750, the play “Comic Theater” was created, the plot of which was the author’s views on drama and performing arts. Goldoni talked in his essay about the need to act persistently, but carefully, in the changes he planned. When influencing actors and spectators, their tastes and desires should be taken into account.
IN real life the playwright acted in exactly the same way. His first plays were with old masks, the characters spoke in dialect. Then the masks gradually began to disappear or change almost completely; if improvisation remained somewhere, it was replaced by a written text; comedy was gradually translated from the dialect into the literary language. Along with these innovations, the acting technique also began to change.
Goldoni's system did not at all call for completely rejecting the traditions of the comedy of masks. This system proposed to develop old traditions, to develop them very quickly, but not in all areas. The playwright revived and began to use everything that was realistic in the comedy of masks. From this genre he learned the skill of intrigue and poignancy. But at the same time, everything fantastic and buffoonery did not interest him at all.
Goldoni in his comedies intended to depict and criticize existing customs, that is, he wanted his works to become a kind of school of morality. In this regard, he called his creations “comedies of the environment” or “collective comedies”, instead of calling them comedies of manners. Such specific terminology reflected a lot in its own way in Goldoni’s theaters.
The playwright did not like plays in which the action was transferred from place to place. He was a fan of Moliere. Nevertheless, Goldoni believed that the harmony of the production should not turn into narrowness. Sometimes he built a very complex, multi-faceted set on stage.
Here is a description of the scenery for the comedy “Coffee Room”, staged in 1750, available in the literature: “The stage is a wide street in Venice; in the background there are three shops: the middle one is a coffee shop, to the right is a hairdresser’s, to the left is a gambling shop; above the benches are rooms belonging to the lower bench, with windows facing the street; on the right, closer to the audience (across the street), the dancer’s house; on the left is the hotel.”
In such an environment, the rich and fascinating action of the play takes place. People come and go, quarrel, make peace, etc. In such comedies, as Goldoni believed, there should be no main characters, no one should be given preference. The playwright's task is different: he must show the real situation of that time.
The playwright eagerly shows scenes of urban life in his works and depicts the everyday life of people of different classes. After his first play, he strictly followed the principles of collective comedy in such works as “Coffee Room”, “ New apartment", "Kyojin skirmishes", "Fan" and many others. The play “Kyojin Skirmishes” was in a special position, because no one had ever shown the life of such low strata of society. It was a very funny comedy from the life of fishermen.
Goldoni also had works in which he betrayed his principles. And then a hero appeared in the comedy so brilliant that he outshone everyone around him. For example, in one of his early comedies, “The Servant of Two Masters,” written in 1749, the playwright created a simply excellent image of Truffaldino, with many comic possibilities. This character became the first on the path of increasing complexity of the images of the commedia dell'arte. In the image of Truffaldino, Goldoni combined two Zanis - a clever weasel and a simple-minded bungler. The character of this hero turned out to be full of contradictions.
This combination of opposites later became the basis for a more frank depiction of internally contrasting, full of surprises and at the same time, in their own way, consistent characters in Goldoni’s already mature comedies. The best of these characters is Mirandolina in the comedy “The Landlady of the Inn” (1753). This is a simple girl, leading a brave, talented, not devoid of calculations game with the Count of Albafiorita, whose title is purchased, the Marquis of Forlipopoli and the gentleman of Ripafratta. Having won this game, Mirandolina marries the servant Fabrizio, a man of her circle. This role is one of the most famous and celebrated in the world comedy repertoire.
Theater critics consider Goldoni to be the most observant and impartial critic of morals. He, like no one else, knew how to notice everything funny, unworthy and stupid in a person belonging to any stratum of society. But still, the main object of his ridicule was the nobility, and this ridicule was by no means good-natured.
The activities of not only Goldoni, but also other Italian educators, their propaganda of class equality, the fight against the old way of life, and the preaching of reason found a lively response outside Italy. The importance of Italian culture has increased again.
In 1766, Voltaire wrote: “Twenty years ago they went to Italy to see antique statues and listen new music. Now you can go there to see people who think and hate prejudice and fanaticism.”
The type of comedy of manners that was created by Carlo Goldoni turned out to be unique in the middle of the 18th century. This explains the pan-European recognition that Goldoni’s works received during his lifetime. But in his hometown he made some pretty serious enemies. They competed with him, they wrote parodies and pamphlets about him. Goldoni, of course, was not indifferent to such attacks. But since he was the first comedian in Italy, he could not take these machinations to heart.
However, in 1761, his seemingly unshakable position was slightly shaken. The production of Carlo Gozzi's theatrical fairy tale (fiaba) “The Love for Three Oranges” was a huge success. Goldoni saw in this a betrayal of himself on the part of the Venetian public. He agreed to the offer to take the place of playwright of the Theater Italian comedy in Paris and in 1762 left Venice forever.
But the playwright soon had to part with this theater. The reason for this was that the theater management required him to produce commedia dell'arte scripts. In other words, he was required to support the genre he was fighting against in his homeland. Goldoni could not come to terms with this state of affairs and began to look for another occupation.
For some time he taught Italian. His students, among others, were the princesses, daughters of Louis XV, which allowed him to receive a royal pension. While teaching others his native language, Goldoni became proficient in French.
In 1771, at the celebration of the wedding of the Dauphin, the future king Louis XVI, Goldoni's comedy "The Grumpy Benefactor", written in French, was staged at the Comedie Française theater. She was received simply wonderfully, but this was Goldoni’s last theatrical success.
In 1787, he wrote and published his three-volume Memoirs. This work remains a very valuable source of information about Italian and French to this day. XVIII theaters century.
During times French Revolution Goldoni's royal pension was taken away. The Convention subsequently decided to return his pension according to a report by the French playwright Marie Joseph Chénier. But Goldoni never found out about this, since he died the day before.
Carlo Gozzi (1720-1806) ( rice. 55) began his rivalry with Goldoni with the parodies that he wrote together literary group called "Academy of Granellesques". This clownish name translates as “academy of idle talkers.”
Rice. 55. Carlo Gozzi
Gozzi was categorically against Goldoni's theatrical reform, because he saw in it (and not without reason) an attack on existing views on art and on the foundations of the modern world. Gozzi, with all his soul, was for the old, feudal way of life, for each of the layers of society to take its rightful place. In this regard, Goldoni’s folk comedies seemed completely unacceptable to him, especially since in them he described the lower classes of society.
Gozzi was not only an opponent of the Enlightenment cult of reason. Emotions in his views and actions played a much larger role than a cold and sober mind.
Gozzi was born into an old patrician, once very rich, but then impoverished family. Naturally, he lived in the past. He hated France and the French because they were at the head of the Enlightenment. At the same time, he hated those of his compatriots who did not want to live the old way.
He himself never followed any fashion - neither in his thoughts, nor in his way of life, nor in clothes. Mine hometown– He loved Venice because, as it seemed to him, the spirits of the past lived in it. These words were not an empty phrase for him, because he firmly believed in the existence other world and in his old age he attributed all his troubles to the fact that the spirits were taking revenge on him - the man who had learned and told others their secrets.
Members of the Academy of Granellesques published parody sheets in which they displayed sophisticated wit. But this type of activity soon ceased to satisfy Gozzi. Early in 1761 he was given the opportunity to oppose his rival as a playwright. And Gozzi did not miss this chance.
His work “The Love for Three Oranges” was very successfully performed by Antonio Sacchi’s troupe. The parody was transferred to the stage, and Goldoni was ostracized on the Venetian stage, which, it seemed, had been conquered by him forever. But the significance of this performance was much greater than the framework of a simple literary polemic.
In essence, Gozzi was a retrograde. That's why he defended the past so zealously. But he had enormous talent and a sincere love for the theater. By writing his first fyaba (theatrical fairy tale), he laid the foundation for a new and quite fruitful direction in art.
In 1772, the playwright published a collection of his works with a very extensive preface. In it he wrote: “Unless theaters close in Italy, improvised comedy will never disappear and its masks will never be destroyed. I see in improvised comedy the pride of Italy and look at it as entertainment, sharply different from written and deliberate plays.
In some ways, Gozzi was, of course, right. After all, the traditions of commedia dell'arte have indeed turned out to be very fruitful and tenacious. Gozzi's plays were not examples of traditional commedia dell'arte. He contributed not to stagnation, but to the development of this genre. The playwright passionately wanted to cleanse the comedy of masks from the innovations proposed by Goldoni, and again make the theater “a place of innocent entertainment.” But nothing worked out for him. Instead, Gozzi created a new theatrical genre, which was related to the comedy of masks, but was very different from it, because the comedy was not improvised, but written. From now on, hidden behind the masks were very different characters, sometimes there were no masks in the foreground at all. Gozzi wanted to cleanse the theater of new aesthetic trends, but they had already taken root so much that he could only try to turn them to his advantage.
The playwright hated the educators so much that he did not want to spend time on them and understand their ideas. It seemed to him that he was defending the best ideals of humanity from the enlighteners: honor, honesty, gratitude, selflessness, friendship, love, selflessness. But, by and large, they had no disagreements. In many of Gozzi’s works there were calls for loyalty to the traditions of popular morality, i.e. in this sense, Carlo did the same as his enemies - the enlighteners. An example of this is the fairy tale “The Deer King,” written in 1762. Andiana, whom King Deramo chose as his wife, did not stop loving him even when his soul was reincarnated in the body of a beggar. This work was written in honor of high spirituality and devoted, selfless love.
Some plays, regardless of the will of the author, were read completely differently than he wanted. For example, in the fairy tale “The Green Bird,” Gozzi attacked the educators a lot, but his attacks did not reach their goal, because none of the educators were guilty of preaching selfishness and ingratitude, which he accused them of. But he turned out to be a wonderful fairy tale about ungrateful, spoiled children who, after many hardships in life, learned empathy, gratitude and honesty.
Gozzi wanted to criticize from the stage human morals and the false, as it seemed to him, teachings of that time. And if he could not do anything with the teachings, then he simply succeeded in criticizing morals. In his fairy tales, he makes quite a lot of pointed and malicious remarks about the bourgeoisie. For example, he called the sausage maker Truffaldino from the fairy tale “The Green Bird” a hustler, a creep and a crazy talker.
The playwright used many staging effects when staging his plays. Subsequently, he began to attribute the success of his plays to strict morality, intense passions and serious performance. And that was quite fair. Sometimes he wrote entire parables, sometimes he was captivated by the logic of images, sometimes he used magic, sometimes he preferred very real motivations. One thing he never changed was his inexhaustible imagination. It manifested itself in different ways, but was always present in all his fairy tales.
In terms of fantasy, Gozzi's dramaturgy turned out to be an excellent complement to the vital, intelligent, but very dry dramaturgy of his rivals. It was this fantasy that flourished on the stage of the Teatro San Samuele in Venice, where Gozzi’s first plays were performed.
Gozzi's fiabs enjoyed great success in their homeland, but they were not staged outside Italy. Having written ten fairy tales in 5 years, the playwright abandoned this genre. He wrote for several more years after that, but he no longer had the same inspiration. In 1782, Sacchi's troupe broke up, and Gozzi left the theater completely. Gozzi died at the age of 86, abandoned and forgotten by everyone.
Goldoni's plays soon conquered the Venetian stage again. Gozzi's works were brought back to life by Schiller and many of the romantics who considered him their predecessor. His work contained all the prerequisites for romantic trends, which at that time began to spread throughout Europe.
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La Scala, Milan
Opera House La Scala opened its doors to visitors in 1778. Today, by booking air tickets to Milan and going to the most famous opera house, you can listen to the world masterpieces of Bellini, Verdi, Puccini, Donizetti, Rossini. By the way, the capacity of the auditorium is 2,030 spectators, and ticket prices range from 35 to 300 euros. La Scala is unique in that the season opens on December 7 (this is the day of St. Ambrose, the patron saint of Milan) and lasts until November. La Scala has a strict dress code; visiting the theater is only allowed in a black dress or tuxedo.
"San Carlo", Naples
“San Carlo” is the largest opera house not only in Italy, but also in Europe. In size, it is surpassed only by theaters in New York and Chicago. The theater began operating in 1737. In 1817, after a fire, it was rebuilt. The incredibly luxurious theater seats 3,283 spectators, with tickets starting from 25 euros. If you decide to book flights to and visit this wonderful city, then be sure to listen to Giuseppe Verdi’s “Othello” in “San Carlo” - you will get great pleasure.
Covent Garden, London
If you book a flight to, you can see not only Tower Bridge and the Royal Guard, but also the Royal Theatre. Opened in 1732 under the leadership of Handel, the theater survived more than 3 fires, and each time it was restored, preserving its exquisite architecture. The exclusivity of the theater lies in the fact that many productions are shown on English. Ticket prices range from £10 to £200. At Covent Garden we recommend listening to the opera Norma by Vincenzo Bellini.
Grand Opera, Paris
To appreciate the greatness of the theater, it is enough to list the great composers who performed their works there: Deelib, Rossini, Meyerbeer. In the most visited theater in the world, ticket prices reach 350 euros, and the capacity of the hall is 1900 spectators. A facade with 7 arches, sculptures of Drama, Music, Poetry and Dance and an interior with marble staircases, frescoes by Pilz, paintings by Chagall and Baudry. It’s worth booking air tickets just to visit the Grand Opera at least once.
Royal Opera, Versailles
The Royal Opera of Versailles is located in a large luxurious palace and is the largest palace theater in the world. Its architectural uniqueness lies in the fact that it is entirely constructed of wood, and all the marble surfaces are just an imitation. The theater hosted premieres of brilliant operas, including Gluck's Iphigenia in Tauris. Now this theater is a mandatory part of the cultural program for those who have booked flights to Paris. The minimum ticket price is 20 euros.
Vienna State Opera House, Vienna
The Opera House in Vienna is truly royal in style and scale. At the opening of the theater they performed Mozart's Don Giovanni. Everything in the opera house is imbued with the spirit of the great Austrian composer: the facade of the theater, made in the neo-Renaissance style, is painted with frescoes based on the opera “The Magic Flute”. And the most popular artistic director was conductor Gustav Mahler. The Viennese Ball is held at the theater every February. Once you've booked your flight to Vienna, be sure to visit the opera house!
Teatro Carlo Felice, Genoa
The Carlo Felice Theater in Genoa is a symbol of the city, on which no money or effort was spared. For example, the stage design was created by Luigi Canonica, who built La Scala. The theater is inextricably linked with the name of Giuseppe Verdi, who premiered his operas in the city for many seasons in a row. And to this day you can see the creations on the theater poster genius composer. If you have booked flights to Genoa, we recommend listening to the opera “Mary Stuart” by Gaetano Donizetti. By the way, ticket prices are quite affordable and start from 7 euros.
Gran Teatro Liceu, Barcelona
, it is simply impossible to love opera and pass by the Gran Teatro Liceu! The theater is famous for both its classical repertoire and the modern approach of its works. The theater survived an explosion, a big fire, and was restored exactly according to the original drawings. The seats in the auditorium are made of cast iron with red velvet upholstery, and the chandeliers are made of brass in the shape of a dragon with crystal shades.
Estates Theatre, Prague
The Prague Theater is the only one in Europe that has survived almost unchanged. It was at the Estates Theater that Mozart first presented his operas Don Giovanni and La Clemenza di Titus to the world. And to this day, the works of the Austrian classic form the basis of the theater’s repertoire. Among the virtuosos who performed on this stage are Anton Rubinstein, Gustav Mahler, Niccolo Paganini. In addition to opera, ballet and dramatic performances are given here. And Czech director Milos Forman filmed his film “Amadeus” here, which brought many Oscars.
Bavarian State Opera, Munich
The State Opera in Bavaria is considered one of the oldest theaters in the world; it was opened in 1653! The theater seats 2,100 spectators, and ticket prices start from 11 euros and end at 380 euros. Wagner's premieres were presented here - Tristan and Isolde, Das Rheingold, and Die Walküre. Gives 350 performances annually (including ballet). For those who have booked a flight to Munich, the Bavarian Opera is a must see.
Surprisingly, the largest European theater is not in London or even in Vienna, but in Naples. The Royal Theater of Naples or Teatro San Carlo seats 3,285 people.
In addition, he is the oldest operating theater peace. The San Carlo Opera House was opened in 1737 by King Charles of Bourbon. Before the construction of La Scala in Milan, this opera house was the most prestigious theater in Italy.
Many operas were staged here, including the famous works of Gioachino Rossini. In the twentieth century, such composers and conductors as Giacomo Puccini, Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano, Francesco Cilea worked and staged their operas in the theater.
Teatro alla Scala, Milan
Despite the fact that Milan's La Scala theater cannot boast of outstanding statistical records, it is perhaps the most famous stage in the world.
The world famous Milan opera house Teatro alla Scala was built in 1776-1778 on the site of the church of Santa Maria della Scala, from which the name of the theater itself came. The new venue was opened on August 3, 1778 with a production of Antonio Salieri's opera “Europe Recognized.”
During World War II the theater was destroyed. After restoration of its original appearance by engineer L. Secchi, the theater was reopened in 1946. Now the La Scala auditorium consists of 2,015 seats.
It is an honor for any artist to perform in this theater; the best of the best have been coming here since the 18th century. The names of many of the world's great opera composers, including Rossini, Donizetti and Verdi, are closely associated with La Scala.
La Scala houses not only an opera troupe, but also a choir, ballet and symphony orchestra of the same name. There is a museum in the lobby, which displays paintings, sculptures, costumes and historical documents related to the history of opera and theater.
By the way, when visiting the theater it is worth remembering that it is customary to come to La Scala in black clothes.
(Royaloperatictheater), London
Argue in opera art few people can handle Italy, however modern theater was revived in Britain.
The Royal Theater Covent Garden is considered one of the most famous venues in the world. The first theater on this site was built back in 1732. After fires in 1808 and 1856, the building was completely destroyed. The current theater building was built to the design of Barry (the son of the architect who built Parliament) in 1858.
Here in 1892, for the first time in Great Britain, Wagner's grand opera "The Ring of the Nibelung" was performed under the direction of outstanding composer and conductor Gustav Mahler. The building currently serves as home to the Royal Opera House and ballet troupe, although it often hosts performances from touring opera and ballet theaters from various countries.
In December 1999, the theater was reopened after reconstruction, which made it possible to significantly expand the auditorium. There is also a new foyer in the Flower Hall, where concerts are regularly held. Unlike the London Coliseum (National Opera), where all operas are performed in English, regardless of the original, at the Royal Opera everything is performed in the language in which the opera was written.
(Paris Opera or Opéra Garnier), Paris
The Paris State Opera House has been the heart of French musical and theatrical culture. Currently it is called the National Academy of Music and Dance. The theater was opened on January 5, 1875, it also housed ballet school, which has existed since 1713 and is considered the oldest in Europe.
The building is located in the Palais Garnier in the 9th arrondissement of Paris, at the end of the Avenue des Opera, near the metro station of the same name. The building is considered a standard of eclectic architecture in the Beaux Arts style. It dates back to the era of major transformations of the city, successfully implemented by Napoleon III and Prefect Haussmann. The Grand Opera building amazes with the complexity of its decor and somewhat excessive luxury, the same applies to the interior of the theater.
The main staircase lobby is one of the most famous places Operas by Garnier. Lined with marble of various colors, it houses a double flight of stairs leading to the theater foyers and floors theater hall. Grand staircase this is also a theater, the stage where, in the days of crinolines, the select public paraded. The four parts of the painted ceiling depict various musical allegories. At the bottom of the stairs there are two bronze floor lamps - female figures holding bouquets of light.
The large foyer was designed by Garnier on the model of the state galleries of old castles. The play of mirrors and windows visually gives the gallery even more spaciousness. On the magnificent ceiling, painted by Paul Baudry, there are scenes from musical history, and the main decorative element is the lyre.
The red and gold Italian style auditorium is shaped like a horseshoe. It is lit by a huge crystal chandelier and the ceiling was painted in 1964 by Marc Chagall. The hall accommodates 1,900 spectator seats, decorated with red velvet. A magnificent curtain made of painted fabric imitates red drapery with gold braid and tassels.
(Vienna State Opera), Vienna
The Vienna State Opera is the leading opera company in Austria. The building itself in which it is now located was built in 1869, but the first performances of the opera troupe were given 2 centuries earlier. They took place in the royal palace, as well as on the stage of other theaters.
The theater opened on May 25 with Wolfgang Amadeus Mozart's Don Giovanni. The auditorium has 1,313 seats, but there are also 102 standing places.
Facade Vienna Opera richly decorated, it depicts fragments from the opera “The Magic Flute”, written by Mozart. The flourishing of the theater is associated with the name of the outstanding Austrian composer and conductor Gustav Mahler.
Since 1964, the opera house has hosted performances of the world-famous ballet " Swan Lake», main party in which the talented choreographer Rudolf Nureyev performed for many years, whose fans became many residents and guests of Vienna.
Every year in February, the building is transformed; the most famous ball in Austria takes place here, and at night both the stage and the auditorium turn into a huge dance floor, where numerous couples waltz.
, Moscow
The State Academic Bolshoi Theater of Russia (SABT RF), or simply the Bolshoi Theater, is one of the largest in Russia and one of the most significant opera and ballet theaters in the world. The history of the theater dates back to March 1776.
During the Napoleonic War, the theater building burned down, so in 1821 construction of the theater began on the original site. It reopened three years later on August 20, 1856.
The next reconstruction was carried out in the 21st century. The Opera House resumed its work in 2012 after reconstruction. The new seats for the auditorium repeat the appearance of the seats of the pre-Soviet era, and the number of seats has also returned to its previous size. Chairs and armchairs have become more comfortable, and the width of the aisles has increased.
The decor of the auditorium was restored in the form in which Kavos originally intended it. It took 4.5 kg of gold to gild the papier-mâché moldings. By special order for Bolshoi Theater an organ was manufactured and delivered from Belgium.
Perhaps the most famous productions The theater includes the ballets “Swan Lake” and “The Golden Age” staged by Grigorovich.
, Saint Petersburg
The Mariinsky Theater traces its history back to the Bolshoi Theater founded in 1783 by order of Empress Catherine the Great. The Mariinsky Theater itself, named after the wife of Alexander II, Empress Maria Alexandrovna, opened on October 2, 1860 with Mikhail Glinka’s opera “A Life for the Tsar.”
In 1883-1896, large-scale restoration work was carried out in the building of the Mariinsky Theater under the leadership of the architect V. Schröter. As a result of the work, the acoustic conditions of the stage and auditorium were significantly improved, the necessary extensions were erected, and magnificent interiors were created, which brought the Mariinsky Theater the glory of one of the most beautiful theaters not only Russia, but the whole world.
For more than a century, the Mariinsky Theater has been a symbol of Russian theatrical culture. The names of such famous figures of the Russian stage as F. Chaliapin, F. Stravinsky, G. Ulanov, A. Pavlov, R. Nureyev, M. Baryshnikov and many others are associated with the Mariinsky Theater.
World-famous productions of the Mariinsky Theater, such as “Swan Lake”, “Eugene Onegin”, “The Nutcracker”, were recognized as classics of world art.
Italy, which gave the world such greatest composers as Paganini, Vivaldi, Rossini, Verdi, Puccini, is a country of classical music. Italy also inspired many foreigners: for example, Richard Wagner created his “Parsifal” during his stay in Ravello, which brought this city, where the famous music festival, international fame. Musical seasons open, depending on the theater, from November to December and are important event Italian and international musical life. TIO.BY and the Italian National Tourism Agency have prepared a selection of which of the many Italian theaters to choose. We have attached a link to the program for each theater.
Teatro La Scala in Milan
One of the most famous theaters, of course, is Milan's La Scala theater. Every year the opening of its season becomes a high-profile event with the participation of famous people from the world of politics, culture and show business.
The theater was created by the will of the Austrian Queen Maria Theresa after the fire that destroyed the city's Royal Theater of Reggio Ducale in 1776. The seasons of La Scala are one of the most significant events cultural life Milana. The program alternates opera and ballet, as well as the names of Italian and foreign composers.
The season program is available here.
Teatro La Fenice in Venice
Not far behind La Scala is the Venetian opera house La Fenice, built on Campo San Fantin in the San Marco quarter. Translated from Italian, the theater is called “Phoenix” - precisely because it was reborn twice after fires, like the fabulous phoenix bird, from the ashes. The last restoration was completed in 2003. 
It hosts an important opera salon and International festival contemporary music, as well as the annual New Year's concert. Each season is rich and interesting, and its program combines works from classical and modern repertoire. Before visiting, please read the season program.
Teatro Real in Turin
The Royal Theater of Teatro Reggio in Turin was built by the will of Victor Amadeus of Savoy. Building facade XVIII century, along with other residences of the Savoy dynasty, is recognized as a UNESCO monument.
The opera and ballet season begins in October and ends in June, and every year you can find all kinds of musical events on the bill: concerts of the choir and symphonic music, chamber music evenings, productions at the Teatro Piccolo Reggio, intended for new audiences and for family viewing, as well as the MITO - Musical September festival.
Rome also offers lovers of opera and ballet many encounters with beauty. The most important center of classical music is the Roman Opera, also known as the Teatro Costanzi, named after its creator, Domenico Costanzi. A frequent guest of this theater, as well as the artistic director of the 1909-1910 season, was Pietro Mascagni. Ballet lovers will be interested to know that on April 9, 1917, the Italian premiere of Igor Stravinsky’s ballet “The Firebird” took place here, performed by members of the Russian Ballet troupe of Sergei Diaghilev.
There are many opera performances on the playbill of this theater, but great attention is also given to ballet.
While the Rome Opera's winter seasons take place in the old building in Piazza Beniamino Gigli, since 1937 its summer seasons have been held under open air became the stunning archaeological complex of the Baths of Caracalla .
Opera performances staged on this stage are a huge success among the public, especially among tourists, who are delighted by the combination of this wonderful place with opera performances.
Teatro San Carlo in Naples
The most important theater in the Campania region is, of course, the Teatro San Carlo in Naples. It was built in 1737 by the will of King Charles of the Bourbon dynasty, who wished to create a new theater representing royal power. San Carlo took the place of the small theater of San Bartolomeo, and the project was entrusted to the architect, Colonel of the Royal Army Giovanni Antonio Medrano and former director Teatro San Bartolomeo Angelo Carazale. Ten years after the theater was built, on the night of February 13, 1816, the building was destroyed by fire, which left only the outer walls and a small extension intact. What we see today is reconstruction followed by redevelopment.
This wonderful theater always welcomes opera lovers with a very rich program, which often represents a journey into the Neapolitan operatic tradition and the return of great classics of the symphonic repertoire, including those read through the prism of a new perception and with the participation of world celebrities. Every season, bright debuts and wonderful returns take place on the stage of Europe's oldest opera house.
Of course, it is simply impossible to describe all the splendor of theatrical Italy. But we want to recommend you a few more theaters with programs that deserve attention.
Philharmonic Theater in Verona; season program at the link.
Teatro Comunale in Bologna; programs for opera, music and ballet seasons.
Teatro Carlo Felice in Genoa; programs of musical, opera and ballet seasons.
Royal Theater of Parma; season program here
Teatro Comunale in Treviso; season program here
Giuseppe Verdi Opera House in Trieste; season program here
Concert hall Auditorium in the Park of Music in Rome; season program
If you are planning a trip to Italy, be sure to go to one of the Italian opera houses. After all Italy is the birthplace of opera and the most famous productions and the best in the world musical performances take place on Italian stages. This genre of musical and dramatic art was originally intended for court entertainment, but later became available to the general public. These days, going to the opera is a great way to spend an unforgettable evening and experience great art.
It's better to take care of it in advance. The opera season lasts from October to the end of March, but on some open-air stages performances are also performed in the summer.
Even if you do not have the opportunity to attend an opera performance or ballet, the architecture and history of theaters deserve some attention and a separate visit.
La Scala Theater (Teatro alla Scala)
The most famous opera house in the world (and certainly the most famous in the world) opened in 1778. On the stage of this theater, Puccini’s operas “Madama Butterfly” and “Turandot” were presented to the public for the first time. Verdi's opera “Nabucco” was also performed for the first time on this stage. During World War II, the theater was destroyed and then completely restored. After latest restoration there was a theater opened in 2004.
Such famous masters performed on the stage of the theater opera stage How Maria Callas And Luciano Pavarotti. And today the theater continues to attract the best opera performers and world-famous orchestras. The opening of the season at La Scala is one of the most anticipated social events in Milan.
Teatro La Fenice (Teatro La Fenice)
Teatro La Fenice (Source: Wikimedia)La Fenice – "Phoenix"- one of the most famous theaters Europe. It was opened in Venice in 1792 and was destroyed by flames twice and then "rose from the ashes". After a fire in 1996 and an eight-year restoration, thanks to donations and support from many celebrities, including American director Woody Allen, the theater reopened its doors to the public in 2003. First performed on stage Giuseppe Verdi's opera “La Traviata”.
The most important event in the theater is New Year's concert, in which stars of the world stage take part.
Teatro San Carlo (Teatro di San Carlo)
Most oldest operating opera house Italy was opened in 1737 in Naples by order of King Charles III. The earliest ballet performances in Italy were staged on the theater stage. At one time, the theater was managed by Gioachino Rossini and Gaetano Donizetti.
If you love ballet, keep in mind that it has one of the leading ballet academies in the world.
Teatro Massimo (Teatro Massimo)
Located in Palermo, Sicily, the Teatro Massimo is the third largest opera house in Europe. Domed the building is considered an architectural masterpiece and is famous for its excellent acoustics. Scenes for the third part of Francis Ford Coppola's The Godfather were filmed at the theater. All lovers of cinema and architecture, fans of opera and classical music should include the Teatro Massimo in the list of places to visit.
Teatro Reggio (Teatro Regio)
The Teatro Reggio or Teatro Royale is another opera house rebuilt after a fire. Built in Turin in 1740, this theater hosted many famous guests, including Napoleon. In 1973 Teatro Regio reopened after the fire in 1936 and continues today offers about ten productions per theater season, which lasts from October to June.