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THE HISTORY

The Teatro La Fenice was founded in 1792. In the nineteenth century, the theatre staged the world premieres of numerous operas, including Rossini’s Tancredi, Sigismondo and Semiramide, Bellini’s I Capuleti e i Montecchi (The Capulets and the Montagues) and Beatrice di Tenda, Donizetti’s Belisario (Belisarius)Pia de’ Tolomei, and Maria de Rudenz, and Verdi’s ErnaniAttila, RigolettoLa traviata and Simon Boccanegra

 

In the last century, the Fenice has also placed a special emphasis on contemporary productions, welcoming the world premieres of Stravinski’s The Rake’s Progress, Britten’s The Turn of the Screw, Prokofiev’s L’angelo di fuoco (The Fiery Angel), Nono’s Intolleranza (Intolerance) and Maderna’s Hyperion. Recent premieres have included Kagel’s Entführung im Konzertsaal (Kidnapping in the Concert Hall), Guarnieri’s Medea, Mosca’s Signor Goldoni and Ambrosini’s Il killer di parole (The Killer of Words)

With a seating capacity for over one thousand people, the Fenice boasts excellent acoustics (which were improved when the theatre was rebuilt after the devastating fire of 1996), a 98-member orchestra and 66-person opera chorus, a dedicated local audience and a large international following. The theatre is a leading creative venue, staging more than one hundred opera performances per year, a major symphonic season conducted by prominent conductors from across the globe (including frequent collaborations with Myung-Whun Chung, Riccardo Chailly, Jeffrey Tate, Vladimir Temirkanov and Dmitrij Kitajenko), the full cycles of symphonies by Beethoven, Schumann, Brahms and Mahler, a contemporary repertoire focused especially on Venetian artists such as Nono and Maderna, ballets, and chamber music concerts.

The theatre is owned by the Municipality of Venice and managed by the Fondazione Teatro La Fenice, a private body whose members include the State of Italy, the Veneto region, the Municipality of Venice and numerous public and private institutions. The foundation also runs a second theatre, the Teatro Malibran (formerly known as the Teatro di San Giovanni Grisostomo), which dates back to 1678.

Superintendent is being currently developed, Artistic Director Fortunato Ortombina and Chorus Master Claudio Marino Moretti.

In keeping with the theatre’s storied history, the Fondazione Teatro La Fenice is proud to stage the most important works of the Italian and international operatic repertoire, including pieces by French, Slavic, British and German composers. (Venice has enjoyed a long-standing, deep-rooted relationship with both Britten and Wagner.) The Foundation also hosts cutting-edge experimental directors while continuing to offer first-rate musical experiences. Furthermore, it conducts ongoing research into contemporary music, commissioning new works and staging Italian and Venetian premieres, and, in collaboration with Italian and international experts, is especially interested in producing Baroque works, particularly those from the Venetian repertoire.

 

In recent seasons, the Foundation has also endeavored to meet another of the goals set out in its statutes by developing new artistic frameworks and promoting emerging young artists. To this end, the Fenice has hired emerging young professionals (including conductors, directors, set designers and singers) to stage avant-garde productions, commissioned young composers to write symphonies and chamber pieces. Furthermore, the Fenice collaborates with leading Venetian educational institutions (including the Conservatory, University and Academy of Fine Arts) and involves students in designing, producing and staging performances, particularly as part of the recently founded Atelier della Fenice at Teatro Malibran.



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1789 - Services for the audience

Since access to the theatre was primarily by water, the announcement recommended that the designers should design an entrance from Rio Menuo at least twenty feet wide, since the gondola, the main form of transport, measured thirty-two.
And considering the risk of fire to which all theatres of the day (and not only theatres) were subject, on account of their prevalently wooden fabric and the dangers of their lighting systems, the Noble Society required the architects to make "a special study", promising, in exchange, to attribute merit to any project which, while using constructive components that were necessarily "of inflammable material like wood", would render the building less prone to fire, thank to "ready and easy remedies".

Attention was also addressed to the people who would use the theatre, for whatever reason; the architects were thus advised to improve the structures used by those who worked on and off stage, and also to increase the comfort and tranquility of the spectators, rendering access easier and providing areas "for coffee and the sale of other comestible items"
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The projects, concluded the announcement, must be presented within four months (later extended to six), and the winning architect would receive "a gold medallion weighing three-hundred zecchini" in addition to the payment of a "just recompense" for superintending the construction of "a decorous theatre which would at last be worthy of a capital where Palladio, Sansovino, Sammicheli, Scamozzi and other artists of the Great Century have left such noble monuments..."