In a modern and sumptuous style for those times, the Duse theater was reopened on November 7, 1904. Of the intervention by Colliva, the theater currently preserves very little. On December 25, 1945 (with the performance of Rigoletto), it reopened to the public in its current form, quite simple and devoid of the original decorations; moreover, the elegant balconies were transformed to make room for two spacious galleries. In exchange, all the most famous drama and revue companies, classical and light music singers, and famous dancers have continued to alternate on this stage, perpetuating the successful season started by Emilio Brunetti.
The History of the Teatro Duse in Bologna
Since the mid-seventeenth century, there existed, in the ancient Palazzo del Giglio located on Via Cartoleria Vecchia, a theater hall used by the boarders of the Collegio dei Nobili dedicated to S. Francesco Saverio. The students staged carnival plays and end-of-year academies there. Marina Calore states in the most recent and extensive essay produced on this theater: “For all these performances held before a qualified audience of invitees, it is reasonable to suppose that a theater hall was used (and for ‘martial arts’ also a ‘riding hall’) that was large and well equipped, since the plays in particular, as deduced from the printed ‘plots’ or ‘scenarios’, required many characters on stage, the use of complex and varied sets, and the accompaniment of a small orchestra” (cit. Calore 1990, p. 88). No description of this hall has come down to us, and this suggests it was rather anonymous.
The theater (named S. Saverio) appears in 1806 on the list compiled by order of the Prefect of the Department of Reno, along with three other private Bolognese halls used by amateur companies: Teatro Taruffi, Teatro Felicini, Teatro Legnani. In 1822 it was purchased by Antonio Brunetti, who evidently found it still usable since he rented it out for puppet shows, very popular at the time. In the spring of 1830, the owner, who was a professional engineer, undertook a radical restoration and expansion of the theater. His intention was to change its status and put it in such conditions as to be able to impose an entrance fee on the public attending the plays. That is, to obtain the qualification of “commercial,” for which the theater had to meet certain requirements.
The work was completed at the end of the same year, and the inauguration took place with the prose play Amore e crudeltà. According to the chronicle of a periodical of the time, this theater was rectangular in shape, with fourteen boxes (arranged in three tiers facing the stage), four of which constituted the entrance to as many railings located on both sides of the hall, at the same level as the boxes (cf. Calore 1988, p. 88 and note 6). The interior of the boxes, the railings, and the ceiling of the theater were said to be painted with good taste and elegance. The stage was equipped with many sets created by talented artists, whose identity remains unknown to us. However, despite the costly efforts of Antonio Brunetti, the theater did not obtain the “commercial” qualification. The inspection by the municipal technician and the representative of the Noble Deputation for Shows resulted positively regarding the structures but negatively from the Deputation’s standpoint. The main criticism was the unfortunate location, and it was also noted that it was not appropriate to activate another theater since the city already had enough. Meanwhile, philanthropic performances by amateur companies, particularly active in that period (1831) marked by insurrectional upheavals and civil engagement, were given in this theater hall.
Notably remembered are a Filippo by Vittorio Alfieri staged by Antigono and Agamennone Zappoli and an Antigone played by Annina Ghirlanda. Meanwhile, Brunetti obtained some exemptions from the veto imposed by the Deputation on charging for performances. In particular, the theater was managed for four years by the famous puppeteer Onofrio Samoggia, who had reached a rather high qualitative level in this art. Amid changing circumstances (the theater had meanwhile been inherited by Antonio Brunetti’s nephews: Cesare and Emilio), we reach the threshold of 1860. The changed political situation proved decisive for the fate of this theatrical venue.
The provisional Government Junta showed much more kindness towards theaters; therefore, the latest request to operate commercially was favorably accepted, subject to urgent restoration work being carried out, which was done very quickly, allowing the theater to reopen on the evening of February 11, 1860, with an opera. However, the entire facility required a global intervention as it was too modest, dirty, poorly lit, and lacking adequate ancillary structures.
Therefore, in 1863 the construction site was opened. Emilio Brunetti, who was passionately fond of the entertainment world and had already committed himself deeply to improving the family’s theater’s artistic fortunes, invested large resources to ensure the new hall was modern and comfortable. The theater reopened on the evening of February 18, 1865, with a masked ball, winning unanimous approval from those attending. The hall had two tiers of galleries and a balcony supported by slender iron columns; the decorative paintings were the work of Valentino Solmi and Gaetano Lodi. Moreover, the ceiling of the stalls opened onto a movable crystal skylight; it was equipped with a modern gas lighting system (the first theater in Bologna to have one) and a heating system with radiators located in the basement, as well as a resonating box placed under the orchestra. Finally, it had a large foyer on the first floor.
Starting from March 25 of the same year, performances began to follow each other at a frantic pace, initially with the acrobatic company Ciniselli, then with operas: Norma, Un ballo in maschera, Barbiere di Siviglia until the end of summer, thanks to the movable skylight. The theater experienced notable success in those years, mainly due to the dynamism of Emilio Brunetti, who knew well how to choose shows aimed at a popular audience to entertain and educate at the same time. In 1873, the theater was again closed for rather costly restructuring work, which caused a dispute between the two brothers who owned the theater; consequently, everything passed under controlled administration.
Nonetheless, a very prestigious phase began for the theater. Precisely in 1873, an operetta season was started, destined to have more extensive space. Subsequently, from 1879, the so-called popular concerts were held, during which skilled conductors brought to public attention the progress of European instrumental music (cf. Calore 1990, p. 93). On November 6, 1878, King Umberto I and Queen Margherita, at the invitation of the Workers and Artisans Society of Bologna, attended a performance in this theater. Moreover, there were conferences held there by illustrious figures such as Crispi and Carducci. Finally, in March 1882, the great Sarah Bernhardt performed, winning over the audience with La Dame aux camélias and Frou-Frou. At the end of the century, the theater was bought by Cazzani and Lambertini (the latter also owner of the Teatro del Corso), who wisely decided to change its name dedicating it to Eleonora Duse. The ceremony took place on June 12, 1898, with a famous speech by Enrico Panzacchi, followed by performances of Il Sogno by D’Annunzio and La locandiera by Goldoni.
Soon thereafter, Lambertini died and the theater was purchased by Re Riccardi, then again restored following a project by architect Lorenzo Colliva. During this work, the building was raised to expand the upper galleries, the proscenium was restructured, new stairs were built for greater comfort and safety of the public, the electrical system was introduced, and decorations were redone by Trebbi and Bazzani. (Lidia Bortolotti)
 inaugurato il 7 novembre 1904.){kind=link}