Petrocchi for the theatre of Lugo (1758–1760, now Rossini Theatre). Morelli (1732–1812) -one of the most influential architect of the Papal State-for building the theatre of Imola (1780, now Stignani Theatre), or by A. An alternative proposal was the elliptic shape, proposed by theorists, but also used by C. Memmo (1729–1793) -proposed the bell-shape plan, the one used by the already mentioned Galli-Bibbiena architects in all they works. In order to increase the width of the proscenium and increase the visibility of the stage, some authors-as F. Regarding this latter one, he proposed two different models of the horseshoe plan typology. The author recognised the different typologies: the 16th-Century Court theatre with steps, with boxes or galleries, with boxes joined or not joined with the proscenium. The first essay dealing with the so-called “Italian theatre” was written by the architect F. In Italy, between the late 17th and the 19th Century, there was a debate on the form of the opera house. The development of the opera house building was closely related to the development of the opera and the society. The role of the 17th-Century Venetian managers in reviewing the acoustics of opera should be acknowledged : thanks to commercial documents is possible to know, today, all the details about orchestras, audience, representations. On the other hand, these typologies of theatres could justify by hosting enough paying spectators the affordability of new developments/constructions for the opera manager. The Basilica form of the early court-theatres did not have satisfactory acoustic requirements for this novel kind of performance. On one hand, this means that the geometrical form was useful to visual and acoustic needs of the audience. In other words, they were used from the birth of melodramma in the early 17th Century to its standardisation in the 19th Century. Before the demolition, some of these theatres were used until the 19-Century hosting the representation of G. Vivaldi (1678–1741) and then the evolution of the so-called Neapolitan School-among others, D. Cesti (1623–1669), who exported the opera outside of Italy, respectively in France and in Austria in the early 18th Century the operas of A. Indeed, these halls hosted the second generation of opera composers, F. These latter cited opera houses allowed the development of opera as we know it today. Giovanni e Paolo, 1638 Novissimo 1640 San Moise 1640 San Giovanni Grisostomo (now Malibran) 1678. During some years, several similar theatres were built in Venice, often named by the nearest church: Ss. The paying audience led to a redefinition of the theatre shape: it made it possible to plan the theatrical seasons and the related investments, thus building permanent structures. The turning point in the opera-house history was 6 March 1637, when all social classes attended the inauguration of the San Cassiano theatre in Venice. ![]() This latter was called ’Ancient theatre’ until the 18th Century, in contrast with the ‘new theatre’ for opera. In these early spaces designed for melodrama, one of the most significant aspects is the structural and typological background, deriving from the form of the Roman architecture, including the Roman theatre. ![]() Aleotti (1546–1636) by the same architect, in Ferrara, the Teatro degli Intrepidi (1604, burned in 1679). ![]() Scamozzi (1548–1616) in Parma, the Teatro Farnese (1618, damaged during WWII and rebuilt) by G. Palladio (1508–1580) in the courts of Milan, the Teatro all’antica, Sabbioneta (1590) by V. In the Venetian area, the Teatro Olimpico, Vicenza (1585) were designed by A. ![]() After Florence, some North-Italian courts hosted opera composers and independent architectures were opened to the ruler and the court. This kind of performance acquired a semi-public dimension, such as the Teatro Mediceo in Florence (1586). Florence and its 16th-Century cultural influences are commonly accepted as the birthplace of Opera. Thus, opera means the simultaneous act of a performer-including their voice and gestures-and music. The word Opera in Latin is the plural of opus, which means “act, performance”.
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