La scala milan5/3/2023 Others perished in redecorations of 1807, 18. A few of these boxes remain intact, but many were ruined as early as 1796, when the short-lived Cisalpine Republic ordered the destruction of all heraldic insignia. On gala evenings, when everyone came to outshine their neighbours, the effect must have been dazzling. That of the Meroni family, for instance, was painted by a pupil of Galliari with rural pictures recalling scenes from Cimarosa's operas. Some were fitted up in the frilliest Rococo, others in the severest classicism. But inside, the boxes were luxurious little private apartments, which could be cut off completely from the outside world by curtains, and which each box-holder could embellish according to his own taste. ![]() The parapet of each box was decorated according to an overall scheme worked out by Levati and Reina, who also painted the ceiling. The charm of the interior, upon which generations of opera-goers are unanimous, owes as much to the carefully supervised details as to the general planning, though the sight-lines are well managed and the acoustics excellent. The facade was, and still is, judged to be too unemphatic, but one must remember that it was originally part of a street, not the focal point of a large public square. Archduke Ferdinand, the Austrian ruler, favoured the enterprise, even urged the Milanese to build two theatres instead of one and suggested Giuseppe Piermarini as the architect.Īrchitecturally La Scala had nothing particularly new to offer. By 9 March a group of ninety box-holders met to plan a new one. ![]() On 26 February 1776 the old Teatro di Corte in Milan was burnt down.
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