Alessandra Farinelli Toselli in her extensive essay on the Ferrara Municipal Theatre rightly emphasizes the significant importance of this city in the evolution of stage space. From the first stagings at the court of Ercole I d’Este, to the comedies of Ariosto, continuing through to the 17th century, which was marked by the presence and work of extraordinary personalities in this field. Giovan Battista Aleotti, who in 1604 designed the Teatro degli Intrepidi and worked here as a stage technician until 1628, Francesco Guitti, Alfonso Rivarola known as il Chenda, who operated in the field of scenic apparatuses serving Borso Bonaccossi, and finally the set designer Carlo Pasetti, who in 1660 took care of the renovation of the Obizzi theatre. With these premises, she does not intend to identify a continuity between the scenic experiences at the Este Court and the architectural features of the current Municipal Theatre, but rather to highlight the experimental and innovative character linking quite diverse episodes together, and the relationship that is established time after time between the space intended for the show and the urban space. (cf. Fiocchi 1984, p. 93)The long and troubled realization of this particular building was completed in decisive years for the typological definition of the “Italian-style” theatrical space. On the one hand, the theatre was established as an autonomous architectural structure serving the city; on the other (the baroque scheme of the box auditorium was now established) the perfect theatre hall shape was sought to allow the best enjoyment and maximum acoustic and visual benefit for all spectators by minimizing as much as possible the defects inherent in the cellular layout of the space. Antonio Frizzi in Memorie per la storia di Ferrara effectively summarizes the events surrounding the first construction phase of this theatre. “As early as 1773, our fellow citizens had developed a desire to have a theatre that was public, larger, and more elegant than the two old and sole ones remaining in this city belonging to the Noble Families Bonacossa and Scrofa. The Legate Borghese tried to gather the necessary funds through a lottery, but he failed. His successor, Cardinal Carafa, encouraged to consider this matter, took it up with his usual commitment. He had a design made by our talented young architect Giuseppe Campana, and having fixed the site in one of the best points in the city, he obliged the owners of the buildings there to sell them to the community at a fair price. Since he anticipated that the owners, among whom was the Apostolic Chamber itself, would appeal in Rome, which could delay or even permanently block the project, before the period of mail exchange from that capital had elapsed from the day of the notified cession, he started the demolition of the buildings on the night before April 19, 1786, by torchlight, so those who might have sent appeals to Rome to save them, unable to do so in time, had to settle for the price. Then he began seeking the money needed and found it ready through the effectiveness of his absolute orders. Work was already in full swing, the interior was almost complete except the roof, and the foundations for the exterior were already prepared, when suddenly Cardinal Carafa was unexpectedly recalled to Rome” (cit. Frizzi 1848, V, pp. 232-233). It should be noted that Cardinal Borghese, responding to the citizens’ requests for an adequate theatre, had commissioned designs around 1773-1775 from both Cosimo Morelli and Antonio Foschini. At the same time, the most suitable site for the new theatre had apparently already been identified — the same that would be subject to expropriations by Cardinal Carafa. This was the so-called Isola del Cervo, located opposite the Estense Castle at the beginning of Corso Giovecca, home to some shops and the main post station with attached stables (owned by some Ferrarese aristocrats and largely by the Apostolic Chamber). This area had the advantage of being sparsely populated and as central as possible, in line with the principles that the theatre should be located in the city center, urbanistically in close relation with the power buildings and the most significant ones of social life (cf. Farinelli Toselli 1993, p. 267). In 1778, the energetic Cardinal Carafa was appointed to govern the Ferrara Legation, who was particularly concerned about the city’s ‘decorum’, so a new theatre more responsive to the citizens’ needs would represent a fitting culmination to the redevelopment works he had begun. What followed is well described in the above-cited passage from Frizzi. Upon the arrival of the new Cardinal Legate, Spinelli, the theatre construction site was halted and Campana’s work was heavily investigated. Initially, shortcomings were found in financial management; then his role as designer and project manager was called into question, highlighting deficiencies in the building (completed up to the roof). From that moment, fierce controversies and disputes, including legal battles, began, involving illustrious figures as experts and consultants (Piermarini, Valadier, and Stratico) and architects (Marchelli, Morelli, and Foschini). Recent studies have resolved two major issues regarding this building. Firstly, much of the structure already built under Campana’s direction was reused following advice from Valadier, Stratico, Piermarini, and also Morelli, introducing some improvements including the enlargement of the stage and the modification of the cavea profile, which should have been elliptical. Secondly, the distinct contributions as designers by Foschini and Morelli have been identified. In a context of collaboration imposed from above and never accepted, Cosimo Morelli acted as supervisor, providing his input by continuously checking various project phases and offering concrete design ideas, while Antonio Foschini is considered the actual builder of this theatre. The theatre, born of many disputes, has been regarded from its inception as the most harmonious and well-designed in our peninsula. It represents the synthesis of experiments that throughout the 17th and 18th centuries had involved the theatre as a whole. From the search for the harmonic effect of the auditorium (the choice of the elliptical line to adopt sparked one of the most tricky disputes between Foschini and Morelli) to the great attention paid to the urban setting and the relationship with the city. “The presence of the theatre in the city is not asserted on a monumental basis, as contemporary experiences would have suggested, but through the dialogue of the two sides of the building with the street and the square, through the interpenetration between external and internal space realized in the so-called ‘rotunda’, the elliptical-shaped inner courtyard intended for the passage of carriages which, entering through the portico opposite the castle, could flow into the Giovecca.” (cit. F.Fiocchi 1984, p. 94) In fact, the relationship between theatre and urban space is realized through an effective corner solution characterized by stylistic uniformity of the side and front. The main façade, characterized by seven arches inserted into a rusticated order, is not imposing at all and, also for economic reasons, was designed without decorative elements. While this theatre declines to declare its functions externally, internally it realizes a spatial distribution organization in line with those contemporary and very famous in La Scala in Milan and La Fenice in Venice. Analyzing Foschini’s project, it is noticeable that both the auditorium and the very large stage are richly equipped with numerous well-arranged accessory rooms. At the public’s service are the large Ridotto halls, formerly used as a ballroom and thus featuring an unusual balcony for the orchestra, other adjacent small rooms, and a ‘tavern’ and ‘shops’ located in the basement under the stalls called the “grotta”. The auditorium’s volume, carefully studied (see Foschini’s Dissertazione sulle curve teatrali), is characterized by an elliptical plan with four tiers of boxes projecting beyond the supports, a gallery, a lowered vaulted ceiling, and especially by the elimination of the bulky architectural proscenium with its related boxes. The architectural separation between hall and stage is thus less marked thanks to two very simple pillars supporting a semi-elliptical arch. Another element of interest is the materials and construction techniques used, employing a particular brick as thin as wood could be, from the very light ceiling structure to the centered profile of the boxes, in order to produce a good harmonic effect. Finally, the stage structure, meticulously designed, was built according to schemes and standards already established at the time, with additional improvements by Foschini. Since its inauguration in September 1798 with The Horatii and the Curiatii of Portugal, the theatre has undergone several restorations and embellishments. The original decoration, by Serafino Barozzi in collaboration with the quadraturist Santi and Zuliani, was replaced during the first restorations executed between 1825-1826, with the commission given to Angelo Monticelli who painted the Apotheosis of Ariosto on the ceiling. The current decorative scheme is the work of Francesco Migliari. In 1833, he was commissioned a new curtain on which he portrayed Orlando handing the shield to Rinaldo, with a view of Ferrara in the background. In 1845, Migliari, assisted by Gaetano and Girolamo Domenichini and Davia, created new decoration for the current Ridotto. We then reach 1849-1851 when the theatre underwent significant restorations and embellishments. On this occasion, Migliari worked on the ceiling, marking his last grand undertaking. The new decorative scheme included, besides friezes, four scenes from the life of Julius Caesar: Oath on the Altar of the Fatherland; Promulgation of the Agrarian Law; Gift to the Praetorians of the Lands of the Defeated; Laying of the First Stone of the Temple of Mars. The patriotism of the time likely inspired the chosen subject which symbolizes the sacredness of the Fatherland, the health of ancient customs, civilization and economy, and finally Mars, the god of war who must resurrect a united Italy. (Cf. Farinelli Toselli 1993, pp. 276-279, to whom we refer for a deeper understanding of the theatre’s decorative apparatus and the changes it underwent during the 19th century). During these ‘re-embellishments’ structural restorations were also carried out, the most significant of which took place in 1849-1851 as the entire theatre was strongly in need of repair. In the 20th century, although ordinary and extraordinary maintenance was carried out (for example the installation of the electrical system and the construction of the mystic gulf), no major works were undertaken until the early 1960s. In 1940, part of the rooms annexed to the theatre were occupied by German troops and staging commands, as well as refugees; this caused significant degradation of the entire complex. After the war, the theatre reopened sporadically until 1956 when it was declared unusable and therefore closed. Engineer Carlo Savonuzzi, commissioned with the restoration, conducted the project with deep knowledge of the historical layers and techniques of recovery and replacement. The considerable scope of the work completed between 1961 and 1964 mainly involved the ‘aulic’ part of the theatre. In summary, changes were made, respecting the original lines, to the atrium and the Ridotto (which until then was used as a recreational club), which was suitably reorganized for theatre-related functions. In addition, the historic curtain and Migliari’s decorations were restored, the furnishings were redone, the gallery was renovated, and the so-called “grotta” under the stalls was modified to include restrooms. Finally, floors, stairs, stage flooring, systems, and the installation of a fireproof curtain were renewed. In 1987, the last major restoration was started (mostly completed) directed by architect Giulio Zappaterra and associates in Ferrara. The work concerned the so-called annexes of the Municipal Theatre and especially the adaptation of the entire plant to current safety regulations, requiring significant interventions not easily implemented given the historical and typological characteristics of the building. This was also the occasion to recover all those spaces that, though part of the theatre, were unused or allocated to inappropriate activities and therefore prohibited by regulation. Thus, rooms for dramatic and musical rehearsals, administrative offices and direction, caretaker’s dwellings, woodworking and props workshops were created. With the help of an international expert, some refined interventions were also made to improve the already good hall acoustics, which became necessary when Maestro Claudio Abbado agreed to establish the Chamber Orchestra of Europe in Ferrara—after London, Vienna, and Berlin. The theatre has a very intense and varied high-quality activity. (Lidia Bortolotti)
Information about Ferrara Municipal Theatre
Corso Martiri per la Libertà,
44121 Ferrara (Ferrara)
Source: MIBACT
