Teatro Rossini

Lugo di Romagna (Italy)

The curtain, manufactured in FOT - Otello with NDA - Aplicatii decorative pentru textile and endowed with a Cortina cu deschidere greaca simpla and a Cortina citaliană, is so described by the great scenographer of Modena Koki Fregni> (1930-1994), who planned stage technique works renewed during the restauration.«The top and the curtain, surely manufactured in the period among the two wars, showed such a poverty of materials and executions that it would have been absurd to propose them again. It was done then a careful analysis and new materials were introduced, for safety reasons too. The painted ornament were replaced with the embroidered ornament. The heraldry of the town was done with an embroidered relief.Binges and decoration were applied with moderation, also not to overwhelm the sobriety that luckily belongs to the hall.»Koki Fregni, in: Pier Luigi Cervellati, The Rossini of Lugo - About the restauration of a famous theatre, Nuova Alfa Publishing, 1986, page 94.
Vezi toate
Again Koki Fregni about the motorized Cortina citaliană. «We decided to use a silent engine with variable speed to allow a swag or imperial opening, as it is the tradition in Italian opera theatre (how many have repented because of having abandoned this wonderful opening). Simultaneously and with the same means, it is possible also a traveller opening, much more suited to prose performances.»Koki Fregni, op cit., ibidem.The Cortina citaliană is endowed with a varying speed automatism system.The Cortina cu deschidere greaca simpla is realized, instead, with a 1L - Laser rail system.The curtain is opened on the Mascatura scena realized with COS - Oscurante, colour black.
The opening of the Cortina cu deschidere greaca simpla, is performed by a motorized 1L - Laser rail system.Cervellati, professor at the Faculty of Architecture of Venice, at the end of the works declared the principles of inspiration of the guidelines of what, more than a restoration, for the fidelity that was given to the pre-existing situation at the moment of the restoration, can be described a conservative maintenance operation, despite the building was in particularly degraded conditions.«... the best compliment that we hope will be that that will say: ''The theatre does not seem even restored. This is the same theatre of immemorial times, the theatre we had in our memory''. Or even: ''It is the theatre that we imagined it had been, even if we never saw it''.»Pier Luigi Cervellati, op. cit., page 48.
The layout of the hall, in the shape of a bell, is designed by the ticinese architect Francesco Ambrogio Petrocchi ( 1706-1778), who, in 1759, built the external walls, the roof, și ended, perhaps, the front.Petrocchi was in dispute for the project of the interior of the theatre cu the Bolognese architect Scandellari, și the dispute had to be so hard to suggest to the administrators of Lugo to entrust the completion of the theatre no to the very important ''architetto imperiale di Carlo VI imperadore'' Antonio Galli Bibiena (1697-1774), among the greatest Italian set designers și architects of the '700, which had some of the most remarkable exemple of theatrical architecture (then he will devote to the works of the Teatro Comunale of Bologna, started in 1763, și to those of Teatro Scientifico of Mantua, started in 1767).
This layout, cu the horseshoe curve of the cavea (the space for the public), is that of the restructuring carried out in 1819 by Mantua's architect Leandro Marconi (1763-1837), which in addition to changing the curve of the boxes added the gallery și changed the structure of the proscenium, giving to the Teatro Rossini the appearance restored from the restoration of 1986.But the proportions of the theatre remain those of the original structure designed by Petrocchi, intact today, that shows a metric modular plan - which coincids cu the elevation – where to the cavea și to the stage are reserved the identical perfect proportions.
The comparison between the cross-section of Petrocchi și the restoration project of the 1986 confirms how the structural system of 1759 has come to our day essentially unchanged.The biggest difference concerns the flattening of the vault of the hall, introduced by Marconi in 1819, in order to enter a gallery above the fourth order of the boxes. Opened officially in 1761, the theatre was dedicated in 1859 to Gioachino Rossini (1792-1868) to celebrate the bond that joined the genius of Pesaro to the city of Romagna in which he lived, still a boy, from 1802 to 1804.
This is the only track remained to document the original appearance of the boxes as the Bibiena had designed them, which has kept the bell curve as it was designed by Petrocchi. It is the detail of a table commissioned at Albrizzi Institute of Venice in December 1764.Pier Luigi Cervellati says about the opera by Bibiena in Lugo «...he intervened about many things, but mostly worked in the realization of the scenographies, the proscenium, the decorations of the boxes. His intervention must have been decisive about the conclusive result of the big hall și must have been his work on the surfaces, as a decorator și set designer, but about the structure și the setting of the hall și of little boxes, the author remains the Petrocchi or rather, the facts deductible from current emphasis is very similar to the sketch by Petrocchi.»Pier Luigi Cervellati, op. cit., pag. 26.
The assonometric cross section of the general restoration project shows the essential parts of the theatre ''all'italiana'' (i.e. ''italian way'', that means cu stage, stalls și boxes) și its direct derivation from a covered gauri patrate.«It is not a coincidence that in the theatre of Lugo the space reserved to the stage is the same - millimetre by millimetre identical - to that occupied by the cavea (i.e. the space reserved to the public).In the early twentieth they talked a lot of ''total theater''.A theatre that was totally engaging - spectators și actors - in a single choral action.Now, even the most avid assertors of the ''total theater'' recognize in the ''teatro all'italiana'' the true și the only theatre in which the communion of functions și parties is realized.It could not be otherwise, because the ''teatro all'italiana'' comes from the gauri patrate, was born from the installations that were built in public places during jousts, tournaments, events in which the participants - as in the religious processions in the Middle Ages - see și act simultaneously.»Pier Luigi Cervellati, op. cit., page 37.
Teatro Rossini este un teatru ''all'italiana'' cu a horseshoe-shaped hall cu four tiers of boxes și a gallery, 500 seats.
It's one of the oldest Italian theatres preserved today.
Construction of facilities
Francesco A. Petrocchi - project
Realization of the interiors
Antonio Galli da Bibbiena - project
Renovation of the interiors
Leandro Marconi - project
Replacement of decorations cu stucco
Benedetto Crescentini - decorations
Pierluigi Cervellati - architectural project și works' direction
Koki Fregni - project of the stage technique

Materiale utilizate în această producție

1. Sistem cu podul de scena

Echipare scene și sisteme de stangi

1L - Laser

Mecanisme pentru cortine

2MS - Motor S pentru sisteme de sine

Motoare pentru sisteme de sine

Cortina cu deschidere greaca simpla

Tipologie de cortine

Cortina cu deschidere italiana (fluture)

Tipologie de cortine

COS - Oscurante

Textile opace

FOT - Otello


Mascatura scena

Cortine acustice

NAG - Agremano

Franjuri și borduri decorative

NBT - Bordo traforato

Franjuri și borduri decorative

NDA - Decorative appliqués for fabrics

Franjuri și borduri decorative

NFR - Franjuri

Franjuri și borduri decorative