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Teatro Regio di Torino

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The Teatro Regio (Royal Theatre) in Turin: an avant-garde Savoy treasure

King Charles Emmanuel III of Savoy  commissioned the Teatro Regio in Turin.  Very different from the lavish and impressive rococo design of the original building, today the Teatro Regio has become an icon of modern 20th-century architecture . Completely renovated by architect Carlo Mollino, after a fire in 1936 reduced the building to ashes, it hosts a rich and varied programme.

A prestigious orchestra

An icon of Turin and one of the most famous theatres in Europe, the Teatro Regio hosts an outstanding opera and ballet season every year. The Orchestra Teatro Regio di Torino is the jewel in the crown of the Turin institution, founded at the end of the 19th century by Arturo Toscanini , who conducted a long series of concerts and historic operas here, including the Italian premiere of Wagner 's Götterdämmerung and Puccini 's La bohème. The Orchestra honours this legacy with tours around the world, from Japan to the United States, and by producing a plethora of records and video productions.

Teatro Regio in Turin

From its origins to the present day.

Of the original building, commissioned by King Charles Emmanuel III of Savoy and created by architect Benedetto Alfieri, only the façade remains: imposing and stark like the city, in red brick and surmounted by semi-circular and triangular tympanums. Inside, however, nothing remains of the 18th-century structure. It originally boasted an auditorium and five tiers of boxes, reaching an extraordinary capacity of 2,500 seats, but everything was destroyed by a fire. Reconstruction started decades later in 1967 under the leadership of Carlo Mollino, who redesigned the theatre, giving it a brand-new identity. Re-established and inaugurated in 1973, today the Teatro Regio of Torino flaunts a modern aesthetic , grand yet functional, fascinating not only for opera lovers but also for architecture enthusiasts. You will be welcomed by a series of 12 crystal doors, the layout of which recalls a cello case. As you enter the large and bright foyer, you walk along suspended walkways. The stalls resemble a half-open oyster and the imposing chandelier is not an antique, but rather a composition of 1,762 thin aluminium tubes and 1,900 reflective Perspex stems. Once inside, you will feel as though you are inside a very modern sound cave with stalactites. Between acts, you can enjoy a drink at one of the two bars in the curved, perfectly symmetrical building. If you don’t manage to buy tickets or are only passing through Turin, we recommend at least booking a guided tour inside the Teatro Regio , which includes a walk through the workshops, the tailor's, the dome and the stage . With a stroke of luck, you will find yourself there in the middle of rehearsals.

Piazza Castello, a concentration of historical monuments

The Regio Theatre overlooks Piazza Castello, the heart of Turin's historic centre and part of the Residences of the Royal House of Savoy, a UNESCO World Heritage Site since 1997, from which the city's four main streets branch off. 

An immense, square “agora”, bordered by porticoes, where you can enjoy a pleasant stroll surrounded by historical buildings: Madama Palace , the Royal Armoury, the stately palaces, one of which is the seat of the Piedmont Region, the Royal Church of Saint Lawrence , the Subalpine Gallery mall and the Torre Littoria high-rise building. In a few steps, you can visit the Piazzetta Reale and Royal Palace, followed by the Piazza San Giovanni with the Baptistery of St John . 

Palazzo Madama

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• Theater Regio
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Teatro Regio di Torino

The Teatro Regio of Turin is the Opera House of the City of Turin , one of the largest international opera houses with a billboard that every year offers a season of opera and ballet, concerts, musicals and a rich program for families and for the children.

The Teatro Regio is located in the heart of the city, in Piazza Castello, the origins of the majestic theater date back to 1740 and the facade is declared, since 1997, UNESCO World Heritage Site .

The Orchestra and Chorus of the Regio are the protagonists of the artistic activity of the Theater with many recordings on CD and DVD and a rich international presence thanks to prestigious tours all over the world.

The Teatro Regio presents today the great operatic repertoire alongside some more innovative musical theater proposals , all enriched by the presence of prestigious artists including: Calixto Bieito, Robert Carsen, Damiano Michieletto, La Fura dels Baus, Fabio Luisi, Michele Mariotti, Valery Gergiev, Ildar Abdrazakov, Diana Damrau, Barbara Frittoli, Angela Gheorghiu, Gregory Kunde, Ambrogio Maestri.

Information on: www.teatroregio.torino

TEATRO REGIO - STAGIONE D'OPERA E DI BALLETTO 2023-2024. AMOUR TOUJOURS

Other from turismo torino e provincia.

Teatro Regio Di Torino: Turin’s Modern Arts Complex

Turin’s Teatro Regio (Royal Theatre) has its origins in the 18th century, when the Duke of Savoy, Victor Amadeus II of Sardinia, commissioned a grand new theatre as part of plans to revamp the city centre. The theatre went on to stage premieres of works by leading composers including Giacomo Puccini. After the theatre was razed to the ground in a fire in the 1930s, it took almost 40 years for it to be rebuilt, and the theatre as it stands today opened in 1973.

The Teatro Regio is a huge complex with spaces for conferences and exhibitions as well an auditorium to staging concerts, operas, plays and ballets, and screen films. Its total area is equivalent to that of 8.5 soccer pitches and it has the second largest stage in Europe.

The central body of the theatre is distributed across nine floors. The foyer is spread over four levels. It includes the Foyer del Toro, which has a large marble mosaic in the centre depicting the figure of a bull, which is the symbol of the city and the theatre. The Sala Maria Callas lies adjacent to the Foyer del Toro and contains a relic from the old theatre in the shape of a small marble hearth that heated the royal box.

The auditorium seats 1,582, mostly distributed in the stalls and the rest in a ring of 31 boxes. The décor is modern, with beechwood panel walls, red velvet upholstery and a spectacular chandelier formed by a set of 1,900 prismoidal Perspex stems of various lengths, positioned in a triangle around 1,762 aluminium tubes, each holding a light bulb. For those seeking to experience performances in a more intimate atmosphere, the complex also contains the Piccolo Regio Puccini theatre that seats 380 people.

During September to July, guided tours of the foyer, hall, technical structures and archives take place at 3.30pm from Tuesday to Friday and 11am and 3.30pm on Saturdays.

Where : Teatro Regio di Torino, 215 Piazza Castello, 10124 Turin, Piedmont

Website : http://www.teatroregio.torino.it/

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Arts and Entertainment Reviews

Chicago / Tour Opera Review: WILLIAM TELL (Teatro Regio Torino at the Harris Theater)

by Barnaby Hughes on December 6, 2014

in Theater-Chicago , Tours

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Turin, Italy’s Teatro Regio Torino opened its first ever North American tour with a magnificent concert performance of Gioachino Rossini’s William Tell at the Harris Theater on December 3. Energetically conducted by musical director Gianandrea Noseda, the four-stop tour continues with performances in Toronto, New York, and Ann Arbor. William Tell was last performed in Chicago by Lithuanian Opera in 1986.

Rossini’s final opera, William Tell (or Guillaume Tell ) premiered in 1829. Its French libretto by Étienne de Jouy and Hippolite Bis was based on the play Wilhelm Tell (1804) by Friedrich Schiller and the French novel Guillaume Tell, ou La Suisse Libre (1812) by Jean-Pierre Claris de Florian. Teatro Regio Torino performs the opera in Italian using the translation of Calisto Bassi, restored in 1988 by Paolo Cattelan. Written in four acts, the opera runs untiringly for roughly four hours, including two intermissions. A wondrous achievement indeed.

Set 700 years ago, William Tell relates more than simply the legend of an expert archer shooting an apple perched on his son’s head. Rather, it tells the story of the Swiss uprising against Austrian domination led by Tell. Much of the action takes place on or beside Lake Lucerne, especially the dramatic episode of William’s maritime escape from the Austrians in the midst of a storm. Adding further fire to this revolutionary tale is the romance of Arnold, whose father Melcthal was executed by the Austrian governor Gessler, and Mathilde, an Austrian princess in Gessler’s care.

This concert performance allows Rossini’s stirring music to be the central focus in a way that it would not be in a staged production. Moreover, the extremely sensitive acoustic of the Harris Theater allows every sound to be heard clearly (including every cough and dropped program in the 1,500-seat venue). Noseda takes the opera’s famous overture at a triumphantly swift tempo, stunningly led by the orchestra’s majestic brass section through to its breathtaking conclusion.

Among the soloists, pride of place goes to soprano Angela Meade as Mathilde, tenor John Osborn as Arnoldo, and baritone Luca Salsi as William Tell. Meade doesn’t appear until Act II, but it is certainly worth the wait. The talented soprano’s masterful volume control and effortless coloratura make her melodic Act II aria “S’allontanano alfine” an incredibly moving experience. It comes second only to Osborne’s show-stopping aria “Non mi lasciare” at the beginning of Act IV. Osborn soars and reaches all of his high notes—and there are many—during this arduous vocal workout. Salsi’s deep and versatile baritone dependably drives the action forward, reaching dramatic heights during his Act III aria “Resta immobile.”

There are many more outstanding voices among the cast: Marina Bucciarelli’s light, pretty soprano gives voice to William Tell’s young son Jemmy; and Marco Spotti’s rich, lucid bass burnishes the patriotic role of Gualtiero, one of the Swiss rebel leaders. Most of the opera’s roles are for men, providing a good balance of tenor and bass voices. Under the careful direction of chorus master Claudio Fenoglio, the chorus also reveals a predominance of men. Their voices harmonize beautifully in the rousing dialogue between Tell and the Swiss rebels at the end of Act II.

A masterpiece of the bel canto style, Rossini’s opera deserves to be known for more than just its famous overture. Because it contains so much incredible music, one can begin to understand why Rossini never wrote another opera after William Tell , even though he lived another thirty-six years. Perhaps Rossini knew that he could not surpass it. While Teatro Regio Torino’s concert performance superlatively realizes the composer’s brilliantly difficult score, one can only imagine how much more grandiloquent the opera would be when provided with sets and costumes, the artists acting out their roles. Nevertheless, it is to be hoped that Harris Theater will invite this impressive Italian company back for future engagements.

previous concert photos by Lorenzo di Nozzi photos of Gianandrea Noseda by Chris Christodoulou

William Tell ( Guglielmo Tell ) in Concert Teatro Regio Torino Orchestra & Chorus Harris Theater for Music and Dance 205 E. Randolph Dr. in Millennium Park reviewed December 3, 2014 for future events, call 312.334.7777 or visit www.harristheaterchicago.org tour continues through December 9, 2014 for more info, visit www.teatroregio.torino.it

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Originally called the New Ducal Theatre, the Teatro Regio in Parma was built at the behest of the Duchess Maria Luigia of Habsburg-Lorraine, wife of Napoleon, who was sent to govern the Duchy of Parma, Piacenza and Guastalla following the Congress of Vienna.  Work began in 1821 on a project by the court architect Nicola Bettoli and the Theatre opened on 16thMay 1829 with  Zaira  by Vincenzo Bellini with a libretto by Felice Romani. Built in the neo-classical style, the façade is characterized by a colonnade with ionic capitals with a large thermal window above.  Having entered the theatre, we accede to the Foyer adorned with two rows of four columns and still visible on the floor the grills once used for heating the theatre.  A staircase leads up to the large salon called the ‘ridotta’, where Maria Luigia’s throne was situated.  The Duchess had direct access to this salon from the Ducal Palace. Two large blown glass chandeliers hang from the ceiling and the tribunes for the dance orchestra overlook the large space.  Returning to the foyer, entrance to the main body of the theatre is through the door of honour: the stalls area, four orders of boxes and the gallery and the ceiling painted by Giovan Battista Borghesi with poets and dramatists painted in a circle around the great “astrolamp”. This lamp in gilded bronze was ordered from the workshop of Lacarrière in Paris. The theatre curtain is also the work of Borghesi and is one of the very few to have survived to the modern day; it depicts an allegory of wisdom with Minerva enthroned surrounded by Gods, nymphs, poets and muses. Minerva is a portrait of Maria Luigia herself. Above the curtain is the special clock ‘a luce’ which tells the time in five minute intervals; it is in the centre of the proscenium arch and on either side of the arch can be seen gilded busts of poets and composers. As we see it today the Theatre is very different from the original; in 1853 the neoclassical décor designed by Paolo Toschi was covered with the gilding and stucco work of Girolamo Magnani who had renovated the newly named Teatro Regio at the behest of Carlo III Bourbon using the new-renaissance style. Magnani was the set designer preferred by Verdi and they often worked together. That same year the new chandelier inaugurated the arrival of gas lighting in the theatre replacing the previous system of candles and oil lamps. Electrical illumination arrived in 1890 and the chandelier was cut down in 1913 to improve visibility from the gallery. The acoustic chamber painted by Giuseppe Carmignani, another rare survivor from past times, repeats the decoration of the boxes and consists of wood framed canvas panels, which can be opened and closed telescopically to function with orchestras of different sizes and formations. Originally the Theatre was destined for various types of spectacle, from opera to dance, from poetic declamation to the most diverse art forms; funambulism, gymnastics, acts with animals, scientific demonstrations, illusionism and displays of ‘curiosities’. Right from its inauguration, the Theatre has born witness and been a protagonist of the crucial changes which affected melodrama during the XIX and XX centuries, from the end of the period of Rossini to the triumph of the Verdi repertoire, to appreciation of the French and German experience, to the extreme evolution in terms of realism of Italian opera with Mascagni, Leoncavallo and Puccini.

Borghesi’s Theatre Curtain

This work by Giovan Battista Borghesi (Parma 1790 – 1846) represents an allegorical scene divided into three parts. On the right is Maria Luigia painted as Minerva, enthroned with the symbols of her power, the plumed helmet, a cloak and the staff of power. At her feet is the owl, sacred to the Goddess and to the right a nymph looks at the shield lying on the ground, symbol of peace.  Behind can be seen the allegories of Abundance, Justice and Peace.  Nearby are Ercole and Dejanira while above them all in an uninterrupted circle are painted the hours, symbol of the eternity of time.  Behind the Goddess  human figures playing the lyre can be seen representing subjects of the Duchess who love music and song.  To the left of the painting, the heights of Parnassus peopled by Gods and spirits.  Apollo in the centre is playing the lyre and at his feet can be seen a lion soothed by the divine music.  Further behind are the Graces  and near the grove of trees the poets Pindar, Homer, Virgil, Ovid and Dante.  To the left of Apollo three muses: Talia, representing comedy carrying a mask, Melpomene, muse of tragedy carrying a dagger and Euterpe muse of music carrying a lyre on her shoulder.  Hidden behind a tree, menacing almost and holding his pipes is Marsia, defeated by Apollo in a musical competition.  In the centre of the scene straining to be released by the muses is Pegasus, the winged horse born from the blood of Medusa, who with a mighty kick released wisdom and poetry from the rock; it is as though Pegasus is advancing towards the spectators bearing anew his gift to humanity.

The painter

Giovan Battista Borghesi (Parma 1790 – 1846) studied in Parma at the school of Biagio Martini. In about 1815 he painted Homer explaining the Iliad and various rooms in the Ducal Palace of Colorno.  He painted many works for the churches of Parma and the altarpiece for the Oratory of the Rossi in 1823 was rewarded with a Ducal subsidy which enabled him to go to Rome where, over the course of two years, he painted a number of sets for the Teatro Argentina.  Returning to Parma he stopped in Perugia and Florence where, amongst other things and inspired by similar works by Raphael and Sustermans, he painted portraits of La Fornarina and Galileo.  Having returned to Parma in 1830 he was nominated Professor of Painting at the Academy of Fine Arts.  He restored the frescoes of Parmigianino in Fontanellato and then painted what are considered his masterpieces: the portrait of  Maria Luigia which is today in the National Gallery in Parma, the ceiling and the curtain of the Teatro Regio, and the ceiling of the third room of the Palatine Library.

The acoustic chamber

Painted by Giuseppe Carmignani (1871-1943) the chamber is made up of differently shaped and sized panels for a total surface of 320 sq.m.  The canvas panels are wood mounted and can be put together for different sized orchestra complexes.  The painting reproduces elements of stucco and inlay used in the decoration of the boxes in the theatre and has been done with tempera using powdered colours bound with animal based glue.  The painting has been carried out directly on to the canvas with no preparatory layer, which normally would have been done with chalk and animal glue, in order to preserve the lightweight nature of the panels.

Giuseppe Carmignani studied at the Academy of Fine Arts in Parma with Gerolamo Magnani and Giuseppe Giacopelli.  After working in the Teatro Regio in 1893 he worked with La Scala in Milan before transferring to Argentina where he created sets for all the State Theatres.  In 1898 he was nominated teacher of perspective at the National Academy of Fine Arts and the following year of the decorative arts at the Buenos Aires University.  In 1911 he returned to Parma and the following year took over the Chair of Decorative Arts at the Fine Arts Institute and later he became Director and teacher of scenography which has its seat in the attic of the Teatro Regio.

The light clock

Time found again, essay by Giuseppe Martini on the occasion of the restoration of the ancient watch by Paolo Valenti

It could happen at the end of a lengthy duet, when the tenor and soprano separate, hopeful yet aware of hostile and alarming circumstances; or else after the applause to a cavatina of exceptional bravura or even, why not, after a Shakesperian monologue or in the full fl ow of complex recitative. During the fi nal agony of the hero, better still the heroine – a Violetta, a Manon a Mimì – no, not there because we all know that there the die is cast. Well, maybe yes, just like when you wake from a dream? Don’t forget that it is also an unexpected moment for the public who a second before would not have believed what had just happened or that it could even possibly have happened, that a tiny and uncontrollable event could overcome and make headway through the darkness leaving in its wake a stageful of shadows crowding upon each other, make him forget what is all around and push him to a gesture both curious and unwary. That’s the moment comes when during a theatrical representation you feel the need to know what time it is. It is a situation both lightning quick and extremely slow, almost cosmic, making headway in an indefinite, dilated space, peopled with arcane sounds and distant lights. A time out of time which is measured from the suspended time on the stage, bounded by arias and choruses, by brandished swords and curses, to a fragment of existence bounded by the time of everyday life, which outside must be placed against bus timetables and the lowering of the curtain. It is at this point that the well behaved spectator, educated in the ways of the theatre and most especially by the ways of the Teatro Regio in Parma, turns to the clock above the stage architrave. Nothing dramatic, a quick look to check the numbers, discreet yet clear, which hove into view as though until that moment they had never existed. The well behaved and educated spectator knows how to read the astute combination of hours in Roman numerals and minutes in Arab numerals, the minutes which advance by fives and which together advise us of the passing of time discreetly, never obsessively. In fact, the clock in operation at the Regio Theatre has no hands just a well thought out system which displays one above the other the two providential numbers elegant and slim against a dark background, like something certainly not unforeseeable and incongruous in the city which welcomed Bodoni with open arms. The great Regio clock does not tell the time: it proclaims it in a stately whisper. Of course, people will then say that the presence of a clock in the theatre stems from other necessities. It is well known that when one looks at the clock it means that the show has arrived at a dead end, and it is not beyond the bounds of possibility that the Theatre planners thought in these terms as well as avoiding members of the public having to fiddle with their fob watches. It would also be good to think that the stage clock is yet another way in which the Theatre has specialized, as though to say that everything about the Theatre itself is directed at assisting and cocooning the spectator providing him with every single piece of information useful to ensure that his attention does not wander from what is happening on stage or, at the very least, in the red velvet theatre stalls. Without explicit documentation, a surname and a year incised on the framework have led us to the author of this ingenious project: Antonio Barozzi, surveyor and clockmaker born in Sissa in 1799, died in Parma in 1870, who perfected the clock already in 1828 a few months before the inauguration of the Theatre in May 1829 and who, on the 7th of May that same year was appointed official clock keeper to the Theatre with an annual recompense of 129 lire for doing what was laid down in article 151 of the Theatre rules and that is “the duty of putting up the stage clock every evening that the Theatre is in use, lighting the prescribed system of illumination and putting it up without lights when the Theatre is used for rehearsals”. The extremely simple mechanism is that of a pendulum clock. A number of weights proportional to the resistance of the cog-wheel transmit energy to the rotator system until it sets off the movement of the escapement wheel, governed by a hooked anchor which, in turn, makes the pendulum move and whose oscillation ensures constant frequency to the system. The most fascinating part, however, is the method by which the two rings which show the hours and the minutes is moved. They are two large black rings, one with the numbers of minutes and the one below, which is larger in diameter, with the hours both lined on the inside with a strip of white paper and with protruding cogs in the upper left part of each number. In this way, the numbers cut into the black ring3 are blocked only by the strip of paper, which means that the light placed at the centre of the lower ring can be modulated behind the number. A metal hand hooks on to a fork hanging from the top and rests on the cogs of the upper wheel. Through a system of ropes, the result of the forces in play allow the metal hand to retract every fi ve minutes, so that it separates from the fork and free itself from the pivot allowing the ring to move anticlockwise only to be blocked again at the next pivot so that the wheel stops at the new hour number. From the Theatre can be seen the small “jump” that the minute number makes as it stops; this is the rebound of the metal arm against the wheel cog. Once the minute wheel has finished its twelve trigger movements, the system unblocks a second gated arm which in turn moves the larger wheel below by one trigger movement thus marking the hours with a similar mechanism. The hiding place of this ingenious chronographic mechanism is both arcane and impervious at 16 metres off the ground: a small rectangular room whose most significant occupants are doubtless the large rings with the hours and minutes and the cable junctions which transmit movement, while hidden in the shadows is the small and elegantly simple rotary mechanism which feeds the entire system. A bare wooden table with a stool which probably was used to lay out the cables complete the scene of this “Collodian” recess. It is a small room but, not to put too fi ne a point on it, it also has a reputation as a love bower from the contemporary legend that Maria Luigia is said to have decreed that whoever managed to being a girl up here to be kissed would have her fall in love for ever. However, we cannot be sure that the names and dates scribbled on the walls are those of successful lovers. It goes without saying that the pleasure of glancing up at the clock from the Theatre is increased by the elegance of the ornamentation which gives it a personality, one of reassuring accomplice, silent yet understanding of the theatrical evening. Unfortunately, in the absence of clear iconographic documentation as to the appearance of the architrave over the stage in the 1829 Theatre project drawn up by Niccolò Bettoli, it is impossible to establish exactly what the ornamentation which underlined the presence of the clock in the first neo-classical design of the room would have been like. It is not difficult, however, to imagine that in a continuation of the elegant style of that design it would have been a sobre variation on the sequence of swirls and palm leaves which decorated the upper frieze under the ceiling vault. It was Girolamo Magnani and Pier Luigi Montacchini, appointed responsible for the ornamental refurbishment in 1853 – when the former New Ducal Theatre had already assumed the name of Teatro Regio – who would elevate the clock to elegant protagonist at the summit of the stage: they surrounded the oval frame with a threaded frieze and placed it within a regal gilded wooden scroll (vaguely reminiscent of the Bourbon lily) with curlicues on four sides from which emerge laterally two flowering branches. In this way the clock was transformed into the visual culmination of the stage and not simply an object of consultation. It does not go without saying that during the 40 years that Barozzi was the untouchable and sacrosanct keeper of the clock at the Regio responsible for the correct functioning of the mechanism, that he always carried out the again maintenance himself which may have led to certain ambitions being nurtured in the bosom of the temporary helpers. In 1839, it appeared necessary to install a clock inside the stage area for the use of actors and singers. A supremely practical, almost severe, gesture and the now dismantled clock, formerly placed above the door accessing the stage from the first row of boxes to the left, came from the old Ducal Theatre within the Palace of the Reserve. Only a dismembered piece of the ruined mechanism now remains. Quite naturally the former glorious Teatro Ducale, situated within the Palazzo della Riserva until 1829, had its own clock in the XVIII century. The former site of that Theatre is now the central Post Office. Obviously at that time the length of theatrical evenings, the constant illumination of the Theatre and the frantic social activity amongst and between the boxes during the course of such evenings obliged the Theatre to have a highly visible clock; in the new theatre with the increasing use of semi darkness for representations, the clock was discreetly lit from the back. It is not clear why Pietro Veroni (1790-1878) of Parma was appointed to clean and repair this old clock from the Ducal Theatre and place it in position in the stage area of the new Theatre. From 1824 to 1831 he had played the kettledrums in the orchestra of the Theatre in Reggio Emilia (but Veroni was from Parma). It is very probable that the meager salary he earned as a musician forced him into re-inventing himself as a clock man as well as keeping his place in the orchestra. In 1839 Veroni cashed in 70 lire, though he had asked for 80, for repairing and putting this clock inside the stage area but was turned down as official keeper of the clocks in the Theatre. In recompense, the following year he was put on the books as a hopeful to play the kettle drums in the Ducal Orchestra of Parma where he stayed until 1856 distinguishing himself for the invention of a method to tune the drums using only one screw. Certainly a man of ingenuity. This is worth mentioning because the lack of focus as to the identity of the builder of the stage clock, Barozzi, has led us for too long to suppose that the documents about the transport and adaptation of the old clock from the Ducale to the inside of the stage in the Regio referred to the clock above the stage, thus giving to Veroni accolades which were undeserved. Veroni instead had re-adapted the old clock from the Ducale to use within the stage area: made of iron mounted on a lucid quadrant with numbers: he certainly remade many parts of the clock and changed the mechanism from vertical to horizontal. It was obviously more for the use of the actors than the singers as there were many displays of various arts, magic and scientific marvels displays which crowded the stage in the Autumn season: there were also many gala and festive evenings when the stalls area was cleared of chairs (the current style of armchair was to be adopted much later) and transformed into a huge ballroom. Its function, however, was to spare any kind of inconvenient episode amongst the artists who were more or less ignorant of the passing of time that the public could check on from the body of the Theatre. This then was the fact: a similar yet less elegant and less ingenious clock told the time for those working behind the scenes whereas the clock above the stage placidly communicated with the public. However, there is a lack of clarity in the XIX century documents where the generic expression “stage clock” is cited in the payments to Veroni for maintenance of the clock within the stage area and the main one above the architrave of the stage itself. As far as the Theatre clock is concerned, and it is after all the subject of this paper, its history coincides from now on with the history of its maintenance and repair. In 1850 following a suggestion from the administrative commission of the Theatre to the President of Ducal finances, it would be the son of Pietro Veroni, Giuseppe (born on 2nd February 1817), to be nominated to take over from Barozzi, without compensation and with the job of winding the stage clock every day and substitute for Barozzi in case of illness, a role that he would cover for at least 20 years certainly repairing the clock in 1855 and 1863 and managing to accumulate a reasonable amount of money thanks to his work as keeper of the clocks. Again in 1889 we have news of repairs to the Roman numerals which had overheated from the back lighting system. Further repairs were carried out in the XX century, the last one in 1979. Recent history from the turn of the century tells us of a “tired” mechanism which led to collapse and subsequent blocking of the system for a number of years; sad years in which it seemed that the time communicated by the Theatre, from the body of the Theatre itself no longer covered the practical and emotional role for the spectator. Pocket technology advanced and the elegantly outlined numbers appeared as little more than a dusty relic from a world no longer operative, an instrument which could easily be done without. But now that the clock has come back into its own, we will once again be aware of the elegant utility of an instrument which not only tells the time, it isolates us from other possible times so brutally banal, the time of haste and traffic on the ring-road, the lengthy measure of time at work and the brief measure of the web, the time of lunch breaks and matches. Inside the Theatre, instead, the only real dimension is that of the spectacle itself where all other perceptions are annulled, or falsified or in any event destined to meet in the square of the stage, over which reigns in the shadows a clock of ancient wisdom, which ignores the spasmodic anguish of minute counting and accepts its task of telling a different story, ancient and immutable which reveals itself only to those who have the intuition to embrace the fact that time in the theatre is to be in the theatre.

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• Un mari à la porte
• The Sleeping Beauty
• Don Chisciotte
• Il piccolo principe
• Don Pasquale
• Il diario di Anna Frank
• Un ballo in maschera
• La fanciulla del west
• Der fliegende Holländer
• Il trittico
• Timur Zangiev
• Felix Mildenberger
• Nathalie Stutzmann
• Yutaka Sado
• Riccardo Bisatti
• Diego Ceretta
• Eun-sun Kim
• Timothy Brock
• Pinchas Steinberg
• Claudio Fenoglio

Three centuries of music, from 1740 to the present

The intention, however, was completed only a few years later by Carlo Emanuele III (crowned king in 1730) who, after the death of Juvarra, chose to entrust the project to architect Benedetto Alfieri , with the demand to design a very prestigious theatre . The «Teatro Regio» of Torino, built in the record time of two years, was inaugurated on 26 December 1740 with Arsace by Francesco Feo . It immediately became an international reference point because of its capacity – about 2,500 seats among the stalls and the five tiers of boxes –, the magnificent decorations in the auditorium with the vault painted by Sebastiano Galeotti , the impressive scenes and the technical equipment, as well as the quality of the performances.

Each season began on 26 December , concluded with the end of Carnival and included two new opere serie written specially for the Teatro. During the 18th Century such celebrated Italian composers as Galuppi , Jommelli , Cimarosa and Paisiello wrote for the Regio, as did foreign authors like Gluck , Johann Christian Bach and Hasse . Moreover, the most famous castratos and prima donnas of the epoch sang there, contributing in a decisive way to the success of the performances. Arousing no less interest were the dancers, who appeared in the two entr’acte dances and in the final choreographic action that was part of each opera.

1.1 Alfieri’s theatre

Set in the old command zone that included the nerve centres of life in the Savoy state, it was the instrument of entertainment and for celebrating the stability of power . The connection with the court was also physically reasserted by the possibility for the royal family and other dignitaries to get to the theatre from Palazzo Reale without having to go out into the street, or rather by way of the Beaumont Gallery (today the Royal Armoury ) and the palazzo of the Secretaries (today the Prefecture ).

1.2 A destination of the Grand Tour

The large elliptical auditorium is furnished with 152 boxes divided in five tiers and embellished with crimson and gold decorations. The foreign travellers who made the Grand Tour to discover the beauties of the peninsula describe the theatre with great admiration in their memoirs.

Charles Burney , one of the foremost musical historians, mentioned it in The Present State of Music in France and Italy as «the great opera theatre that is considered one of the most beautiful in Europe».

In 1761, the Royal Printing House published the engravings by Giovanni Antonio Belmondo , based on original designs by Alfieri, to reveal the splendours of the Savoy dynasty throughout Europe. Reproduced in various treatises on architecture, the plates received a definitive consecration with their publication, in 1772, in the Encyclopédie di Diderot e D’Alembert

1.3 The opera hall

Unlike French theatres, the Regio did not have fixed seats , but ones that could be moved by the audience: the Teatro was not just for shows, but also a meeting place where one could get together for conversation, eating or gambling. Inside the Regio a few shops were opened (like the «refreshments shop» and the one of the «courtesies»), contracted by the Knights’ Society .

1.4 The scenery

Sketches and engravings that have come down to us illustrate the evolution from rather undefined subjects, tied to the Metastasian librettos, to a greater variety of settings which, starting from the 1760s and 1770s, included the world of the Middle Ages, Egyptian civilization, chinoiseries and pre-Colombian civilizations .

1.5 The original curtain

The chiaroscuro style and the choice of colours ensured the success of the author, who became one of the favourite decorators of the Torinese aristocracy.

1.6 Paisiello at the Regio

After the successes, especially in the buffo genre, the Regio gave Paisiello one of the first important commissions for an opera seria . The libretto, by the Piedmontese lawyer Jacopo Durandi , describes the clash and reconciliation between Hannibal and King Artace of the Taurini.

1.7 Prima donnas and castratos

The Regio, moreover, witnessed the last phase of the golden age of the castratos: singing there were Giovanni Carestini in art “il Cusanino”, Gioachino Conti known as “il Gizziello”, Gaetano Majorana “il Caffarelli”, and Gaetano Guadagni . Luigi Marchesi , depicted here in Achille in Sciro (1785) written for him by Gaetano Pugnani , was engaged by the Regio for three seasons and named “first virtuoso of chapel and chamber” by the King of Sardinia.

While the names in the world of song were all Italian, for dance there was a strong French influence : the Torino court saw the arrival of many choreographers, dance maestros and ballerinas from the other side of the Alps, including François Sauveterre , Jean Dauberval and Sébastien Gallet , but also such celebrated Italian choreographers as Gasparo Angiolini . Great musicians performed at the Teatro, like Giovanni Paisiello , who met with enormous success above all in the buffo genre, and Gaetano Pugnani , named first violin of the Teatro and Royal Chapel in 1770.

In the moralizing climate of the Republican years gambling was abolished and hiring castratos was prohibited (they would later return in the Imperial Age). Italian operas continued to be in the repertoire, with the librettos more or less superficially adapted to suit Jacobinic taste. Napoleon attended performances there on three occasions and the very finest artists like the soprano Isabella Colbran , the tenor Nicola Tacchinardi and the choreographer Salvatore Viganò also came to Torino.

2.1 The private impresarios

Between 1801 and 1803 management passed to Giacomo Pregliasco , today remembered above all as the originator of splendid costumes not only for the Regio of Torino, but also for Scala of Milan and the San Carlo of Naples .

In his activity as impresario, Pregliasco tried to extend the opening period of the Teatro and also welcomed opere giocose there, but it was a brief experiment and the former distinction between the genres was soon re-established.

2.2 The Théâtre Impérial

In addition to the shows of the season, the Teatro was the venue for celebrations during visits by the emperor and reigning princes, Camillo and Paolina Borghese . The emperor’s sister stayed in Torino only a few months in 1808, but from 1809-1814 her saint’s day was celebrated at the Théâtre Impérial with the staging of laudatory cantatas, a sort of tableaux vivants of pastoral-mythological subjects.

2.3 Isabella Colbran

2.4 The staging by Maurizio Sevesi

It was not unusual for scenery to be modified and reused on various occasions: for Maria Cristina’s birthday, for example, the scenery for the celebrations of Paolina Borghese were used again, substituting the epigraphs exalting Napoleon with the coats of arms of the Bourbons and the Savoys.

Under Carlo Alberto the auditorium received a Neo-classical imprint (emphasized by the renovation works entrusted to Ernesto Melano and Pelagio Palagi ). In the middle of the century a few changes were introduced in the programming. There was a shift to the season of Carnival-Lent , divided into five or more mainly repertoire operas (and no longer those written specially for the Teatro). Furthermore, beginning with Rossini’s Barbire di Siviglia (1855), the Regio opened up to opera buffa .

New renovations by Angelo Moja in 1861 did away with the changes made by Pelagi and gave the auditorium a “Neo-baroque” appearance.

3.1 Neo-classical architecture

As is evident from the picture taken when Grand Duke Alexander of Russia visited (1839), the Teatro had assumed an austere Neo-classical imprint , with the elimination of the Baroque curves and the use of Corinthian columns.

3.2 Giuditta Pasta and Adelina Patti

In the second half of the nineteenth century, after the theatre programmes were amplified, the singers were no longer signed on for the entire season but for individual operas instead.

In 1865, the Regio audience had the opportunity to hear Adelina Patti , the diva par excellence in the world of opera, in four out-of-season performances of Bellini ’s Sonnambula and Rossini 's Barbiere di Siviglia . She would then return to Torino in 1879 for Traviata. Verdi had appreciated her two years earlier describing her this way: «marvellous voice, very pure singing style; stupendous actress with a charm and a natural that nobody else has».

3.3 Polledro and Mercadante

In Torino, Polledro improved the level of the orchestra and introduced the great compositions of instrumental music by the composers of Viennese classicism, acquiring a number of scores by German editors for the Royal Chapel.

In the same years, Saverio Mercadante , who was trained in Naples, started his international career with the success of Elisa e Claudio , presented in Milan in 1821. He was the only major composer of the time to have a privileged rapport with the Regio of Torino, where he presented in absolute “première” Didone abbandonata (1823), Nitocri (1824), Ezio (1827), I Normanni a Parigi (1832), Francesca Donato, ovvero Corinto distrutta (1835), Il reggente (1843) and six other operas that had already been staged in other theatres.

3.4 The romantic ballet

Attention for the dance was also evidenced by the restructuring of the dance school commissioned by Carlo Alberto in 1846. Thanks to the new involvement of the crown, the school proved to be one of the most prestigious in Italy, alongside those in Milan and Naples.

Other important composers in the history of the Regio are Giacomo Puccini , who christened Manon Lescaut (1893) and La bohéme (1896) in Turin, and Richard Strauss , who in 1906 conducted Salome in the Italian “première”. The last great “première” held by the old Regio was Francesca da Rimini by Riccardo Zandonai , libretto by Gabriele D’Annunzio (1914). After being closed during the wartime period, the Teatro dedicated itself to repertoire operas.

During the night of 8 and 9 February 1936 the Teatro was destroyed by a violent fire and it would take almost forty years to rebuild it .

4.1 Pedrotti and the Popular Concerts

Even though they took place outside the opera season at the Teatro Vittorio Emanuele , where the “Arturo Toscanini" Auditorium Rai stands today, the Popular Concerts belong to the history of the Regio precisely because they had as protagonist the Teatro Orchestra.

The sixty-four concerts held between 1872 and 1886 offered the Torinese audience a panorama of classical, romantic and contemporary symphonic repertoire, creating a new interest in instrumental music that was still not cultivated very much in Italy at the time.

4.2 Wagnerian Torino

After the young opera Rienzi (1882), the entire Tetralogy was presented in 1883 in the original language and with staging by the company of Angelo Neumann , which held the exclusive rights for a European tour. Later Turin contended with Bologna for the title of “Wagnerian city” of Italy, presenting, among other things, Lohengrin with Roberto Stagno (1885) and Tannhäuser with Giovanni Battista De Negri (1888), and then the “prima” in Italy, in Italian, of Die Walküre (1891) and Götterdämmerung (1895) directed by Toscanini .

In the years of Depanis’s management (1877-1881), the Regio reacquired a leading position on the Italian scene: without neglecting operas from the Donizetti  and Verdi repertoires, the theatre programmes presented Italian “premières” of operas by composers who were still relatively unknown in our country.

4.3 The “grand pas”

The settings ranged from the Wagnerian influence of German mythology in Sieba , or La spada di Wodan (1878) to the historical reconstructions of Cristoforo Colombo (1893). In 1882, Excelsior also triumphed in Turin after its success at La Scala . The ballet by choreographer Luigi Manzotti and composer Romualdo Marenco was a monumental allegory of the victory of Civilization and Light over obscurantism.

4.4 Alfredo Catalani

La Wally , finally, was performed in Turin in 1894 with at least a one year delay compared with the wishes of the composer, who in the meantime departed prematurely because of the strong influence of the music publisher Casa Ricordi , which conditioned the artistic choices of the theatres and had given precedence to Puccini ’s Manon Lescaut .

4.5 Arturo Toscanini

At the Regio, Toscanini objected to the excessive power of the leading artists. He ordered them to respect the scores, and tried to shift the audience’s interest from the performance of the singer-diva to the totality of the opera, in which the singing, instrumental performance and staging are coordinated by the director.

4.6 Giacomo Puccini

Manon was an immediate success with the audience and the critics, whereas La Bohème did not meet with approval initially. While the Milanese press praised the composer, the magazines in Turin and in particular the «Rivista Musicale Italiana», advocate of Wagnerian music, expressed unfavourable opinions. The audience in the auditorium, however, gave lengthy applause to the composer, the conductor and the cast, including the Torinese soprano Cesira Ferrani in the role of Mimì.

4.7 The renovation

In the renovated auditorium, the last two tiers of boxes were substituted by three galleries , bringing the overall seating capacity of the auditorium to about 3,000 seats , and the Teatro assumed a more “popular” appearance : no longer a haunt of the aristocracy, but reflecting the social changes that had taken place not only in the city but elsewhere as well.

4.8 The fire

The blaze destroyed the Teatro, built almost two hundred years earlier. Despite the immediate intervention of the Fire Brigade and the soldiers of the Corps of Engineers, the spread of the fire was «sudden and very violent» and the flames soon reached the auditorium as well. At two in the morning, thousands of Torinese flocked to piazza Castello, powerless in front of “their” Teatro ablaze.

In 1965 , in fact, the city administration proposed a new solution by entrusting the work to architect Carlo Mollino and engineer Marcello Zavelani Rossi . The work began in early September 1967 and was completed in the very first months of 1973 .

5.1 The announcement of competition

Nevertheless, the project did not meet with great success: dragging on until the war broke out, subsequently resumed with considerable changes, it finally fell through definitively – in part because of the economic recession that imposed a drastic reduction in expenditures – even though the first stone had been laid on 25 September 1963.

5.2 The genius of Mollino

«After having unanimously planned the general lines of the overall building, Studio Mollino dedicated itself to the sector intended for the public, or rather to the auditorium, the atrium, the foyers and the architecture in general, while Studio Zavelani produced the printouts concerning the scenotechnical sector in its fullest sense, namely the distributive, building, mechanical and functional components of all the relative services».

This is how Carlo Mollino himself described the methods of planning and creating the work, which was designed with absolutely modern criteria, having prevailed, after long and heated debate, the current of thought that believed it necessary to face the problem of reconstruction not on the basis of earlier models but on new architectural and urban orientations.

An artist like Mollino could not even think of working in an exclusively conservative sense or in any case be bound to strictly philological aesthetic and architectural canons. His extraordinary personality thus led him to give vent to his imagination by suggestin g the old Baroque progenitor through a use of curved lines and sinuosity , an idea as original as it was inspired. Sketch of the Regio hall made by Carlo MollinoThe stylistic constant that more than any other characterizes the external and internal feature of each part of the new Teatro Regio – of which Mollino designed every little detail, from the doorknobs to the lights, from the stairways to the structures in reinforced concrete – is precisely the curved line.

The exterior of the Teatro is characterised by the use of materials that integrate very well with the surrounding edifices. In addition to the brick, the rusticated concrete and the Luserna stone that also covers part of the fly tower, two large windows lighten the external “flanks”, making it possible from the foyers to enjoy the view of Juvarra’s elegant façade of the State Archive (situated in today’s Piazzetta Mollino) and creating a suggestive exchange of vistas between the interior and exterior.

Carlo Mollino could not fully enjoy what can justifiably be considered the total synthesis of his experience: he died just a few months after seeing his artistic-professional testament become operational.

5.3 Architecture and technology

The Teatro is arranged over 8 floors , 4 subterranean and 4 aboveground, from a depth of –12,50m to a maximum height of +32m . The offices are in the Alfieri wing towards piazza Castello, while the modern structure accommodates the foyers , the opera hall , the stalls and the stage , as well as all the technical services of the Teatro, including, among other things, two modern rehearsal halls for the chorus and orchestra, a large directing studio, the dance studio , the dressmaking workshop , the cafeteria and another theatre, the “Giacomo Puccini” Piccolo Regio , which has a capacity of 380 seats .

The technical workshops (scenery, woodworking, carpentry and props), once housed in the underground heart of the edifice, are now situated in decentralized locations.

The advanced technology of the structures, constantly modernized to meet increased production needs, place the Teatro Regio in the vanguard internationally: the stage, one of the largest and most mechanized in Europe , makes it possible to accommodate stage sets of considerable complexity, even more than one at the same time .

5.4 The rooms

The foyers are covered in velvet and vermilion carpeting , adorned with mirrors and finished with quality materials including bronze and marble, and crowned by bare reinforced concrete that shows off the originality and modernity of the supporting structures.

Two symmetrical escalators, placed with great emphasis against the windows of the Tamagno Gallery , have an extraordinary scenographic efficacy. This luxury in the use of the materials and in the grandiosity of the foyers, refined and unequivocal, was justified by Mollino himself with the need to provide Torino with a meeting place of absolute prestige to celebrate with due prominence the great events of city life.

6.1 The inauguration

6.2 Odissea musicale

6.3 Centenary of Bohème

The Piccolo Regio theatre was renamed Piccolo Regio Giacomo Puccini on the same occasion in honour of the composer who had seen several of his operas commence in Torino.

6.4 Acoustic restoration and anniversaries of the new Regio

The 25th anniversary of the birth of the new Teatro Regio was celebrated in 1998 with "D’Opera", an exhibition of scenery, props, machinery and costumes mounted in the suggestive spaces of the Cavallerizza and attended by over 70,000 visitors . The Baroque views of the old Torinese military quarter located just behind piazza Castello paid tribute to the extremely suggestive setting.

From 2000 till today

The new Century has meant to catch the opportunity and the challenges connected to the juridical transformation of the operatic organisation into private law foundations . In 2006 the extraordinary experionce of the XX Winter Olympic Games and of Culture's Olympic Games, which have put the Teatro Regio in a central role with a huge number of shows under the watchful eye of the international public, have acted as a springboard for the relaunch of the Reagio all over the world. This also thanks to the artistic partnership with  Gianandrea Noseda , appointed Musical Director from 2007 to 2018. Those were years during which the Regio has been invited many times on tour : in Japan and China, in Saint Petersburg, in many citues and European capitals (among the others it has been Edimburgh and Savonlinna Festivals' guest), in United States and Canada, in Argentina and Oman. At the same time the market presence of our video-record production has been very much increasing and this goes simultaneously with our significant participation in the european project OperaVision , from its birth.

If you are conducting a research or you have specific requests you can contact the  Historical Archive of the Teatro Regio .