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BASSANO 2020: AXIS OF THE THEATRE MUSEUM

the discovery of a strategic masterplan

Bassano 2020: the axis of the museums

Start with this number a series of in-depth analysis and to learn about the choices that characterize the single project of urban transformation of an important piece of the city

Inspiration

In 2004 , visiting the beautiful exhibition Renzo Piano in the Old Port of Genoa, I read (and I was impressed) its presentation to the Masterplan that offered to his beloved city. "It 's a free supply and free delivery to the city and its institutions, its future planning, ports, industrial and social. I hope that the content of this fresco, which of course can be deepened and improved, is not distorted: in which case, as I said, I shall avail myself of the traditional right to grumble, as in the best tradition of the Genoese contracts of shipment .... " This extraordinary gesture of a great civic architecture in the world to his city, has inspired with conscious modesty of distant proper proportions, we offer the city of Bassano del Grappa, a set of possible visions of the urban strategy in the next decade proiettino dynamically.

The existing museum

The area covered by the Masterplan in its northern part, may be considered an ideal continuation of the historical center of the avenue over Fosse. Besides, the proximity to the railway station itself as the ideal interchange and access to the function performed by the cultural tourist town of Bassano.

In the historical center are located all the cultural offerings in the form of museum Bassano, connected by trails that open up urban civic spaces that are themselves part of the elements tourism system in the city (Piazza Garibaldi, Piazza Libertà, piazzotto Montevecchio rising Ferracina, Ponte Vecchio, Via Angarano, the banks of the Brenta, etc...) This led to shows all the buildings built or cores that perform a similar function or museum (exhibitions, monuments) and the paths that connect them together. Have been identified from the east (the area overlooking the area of the Masterplan) to the west, the complex of the former barracks CIMB-Ferrari, now home to temporary parking, but with final design approved and signed by the architect. Carlo Aymonino, for the Museums and Cultural Santa Chiara (expansion of the Museum, Museum of the Automobile-Vimar Bonfanti, Luca Nature Museum Foundation), the venue for temporary exhibitions of building Agostinelli, the complex of buildings that make up the Museum The Civic Tower, overlooking Piazza Garibaldi, the venue for temporary exhibitions and conferences of the Angel Church in Via Roma, Palazzo Sturm, which houses the collection of prints of Remondini, the new headquarters of the Urban Center and overlooks the Brenta, the Ponte Vecchio; the building of the former slaughterhouse on the right bank of the river, which will become headquarters for a private exhibition and contemporary art events and finally Bonaguro palace, overlooking Via Angarano north and Brolo for the next recovery and development to the south.

The connections between these buildings, museums, exhibition venues and events and monuments, historic trails are through all the inner core of the old city, in most pedestrianized, which overlook the important role of identity constructions that have for the character of the city of Grappa.

The ideal connection and continuation of the Old Hospital, will also rely on this important feature, having to provide on the one hand the inclusion of architectural elements that complement and complete the cultural offer and give priority to the other through the use of the same footpaths that are not overlap with other flows, allowing visitors to move safely. Particular attention should therefore be given when crossing the Avenue of Fosse, which is particularly busy, and the connection to the train station, an important point of access to the city.

Objectives of the project

analysis, the museum system in this city is enclosed within the old town. This is now an advantage, as the museums and monuments are all within easy reach, but suffered a sharp break with the area of \u200b\u200bthe Masterplan.

Having latter, in its northern part, be the ideal continuation of the old town itself, must be permanently connected via Jacopo da Ponte with an underground pedestrian crossing sign distinguishable and characterizing the entire operation. To this must, however, added a feature that complements the museum system as the city already owns, a new building with the prevailing cultural function to complete the offer Bassano. If the area of \u200b\u200bthe Old Hospital will host in the near future, the Citadel Services is vital, in our view, provide within the public-private agreements necessary for the transformation of the firm itself, building a core, defined Civic Center, which can act as a catalyst for the city's dynamic cultural offerings, a multi-purpose space that will "transform" adapting from time to time, to meet the tasks necessary to complete the cultural offer of temporary cities (conference venue used for meetings, conferences, film screenings, theater space equipped with fly tower and a capacity of 1200 seats, ideal for classical and contemporary performances ). A structure now missing the city, designed according to the dictates more pragmatic which could lead to an active and qualified international inserted in the tourist with the aim of attracting new and exciting flywheels also cheap for our area.

The project proposal

The inclusion of the new Museums of Santa Chiara in the former barracks CIMB-Ferrari is in fact a completion of that path inside the Old Town that is natural to define "Axis of Museums."

Furthermore, the same complex will be proposed as an element in dialogue with the area of \u200b\u200bthe Old Hospital, a point of connection with the Citadel Services and the desired Center Civic which may, in addition to hosting various cultural events and entertainment, also important to encourage new business Congress as outlined above.

E 'for this reason that this link should take an absolute highlight, as is the point of connection and continuity between the old town of Bassano and areas for the next transformation.

This involves the development of the cultural role of the armature of the territory as an array of places and identity as a strategic line and priority to local development, the value of which is discussed starting from some fixed points of a declination renewed sustainable development: the whole is seen as a cultural system, the result of processes stratified in the time and opportunity for creative new interpretations, meanings and compatible economic interventions made by history and culture on the table of the competition.

territorial planning of cultural heritage is dealt with not as a sector or as a simple attribute of quality of development, but as a cultural matrix gene of all sustainable development: sustainability constitutional, cultural, managerial and economic , considered as areas of opportunity for the protection and enhancement of the cultural fabric of the place.
These actions and instruments capable of transforming land use planning in "cultural planning of the territory, able to express a multiple development, locally based and globally competitive because of the cultural heritage interwoven with the armature, that is, simultaneously, the evolution of specific places and the universal culture of humanity .
All options are included in the assessed value strategic direction of the attribution to the local quality and the cultural identities of local contexts, the resources to know how to read, interpret, preserve, improve and communicate.

A new project for the city

Carlo Ferraro - Deputy Mayor of Bassano with responsibility for Culture

In this debut of the second millennium, Bassano del Grappa is experiencing a important - perhaps decisive - its evolution and urban planning, which aims to redraw the strategic role of the city, inside and outside the walls.

inside perimeter of the walls of the old Viscount, two significant structural and functional operations are coming to fruition: the expansion of Civic Museum and Library, just south of the old site, and a little farther on, in Marinali, the completion of the Citadel of Justice on the abutments of the old prisons.

In the north-east of the center in place of demoted former barracks complex CIMB-Ferrari, is about to leave the completion of an ambitious project of considerable architectural quality, which bears the signature of the prestigious architect Charles Aymonino. I refer to the Museums of Santa Chiara, which will provide an appropriate forum at the Museum of Natural History and the Automobile Museum.

Outside the walls, to expand the very heart of the city, that's open - to the east - the unique opportunity of re-use physical and functional area of \u200b\u200bthe Old Hospital, which is now underway on a wait operation of "Masterplan" . On the other hand, to the west, (re) views suggestive hypotheses such as "water Squares" (project Chipperfield) of the Brenta and the renovation of the former slaughter for Museum and Center for Promotion of Contemporary Art (operation the latter, promoted by a private individual). If we read these new realities in the existing overlap (Civic Museum of Ceramics Remondini and Palazzo Sturm, Torre Civica, Bonaguro palace, palace Agostinelli, Chapel of the Angel, Ezzelini Castle with its outdoor theater), emerges from a museum of outstanding quality and variety of themes and locations. Ultimately, an appeal of the city raised in the cultural field and, consequently, tourism and economic development.

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Penalty For Fake Id Ontario

SOCIAL LOW

PROPERTY TO SAVE

"... strong pushes intellectuals are asking aloud the return of the property in what was its historical ..."

The FAI, the Fund for the Environment Italian, is a non-profit foundation founded in 1975. Its aim the upbringing and education of the community to the protection, promotion and enhancement of artistic, historical and landscape of our country, a unique place in the world.

Delegations are operating on the territory and the issue so that people become aware of the importance of this objective and spiritual heritage.

Following these principles, the FAI delegation of Bassano del Grappa offers citizenship to this publication on the Astra Cinema Theatre Social hours, with the intent and hope to know its history and also offer suggestions of pride, specific arguments for have inherited a great tradition.

The history of our theater belongs to us, is a part of the mosaic that represents the events are historical, cultural and social aspects of our city.

Especially in these times, which often seem to lose our cultural identity, research and development are fundamental to our past, to find the culture a bridge to the other, the common denominator of all nations.

Today we must be aware that the work and thinking of all of us are important to achieve a common goal, recalling that together we can truly make a present and a future to our past. "

Gabriella Criscuolo Finco

FAI Head of Delegation of Bassano del Grappa

December 2007

HISTORY OF THEATRE,

A THEATRE IN HISTORY

Alessandro Tich

only need a name: Niccolo Paganini. Yes, that's him, violinist, composer, teacher and virtuoso without equal. That evening went on stage at the theater, picked up his magic violin-like and tell the news - "in an evening memorable snapped the audience repeatedly. "

It was 1816 and the theater that housed the theater that night was unique to New, and then later renamed the Academic Theatre Teatro Sociale di Bassano del Grappa.

We like to imagine, and some 'moves us, that the genius of Genoa, the first to perform in that concert, admiring the landscape has focused del Grappa and deep breathing the good air coming from the valley.

this name would be enough to turn on the light, if ever proof were needed, the greatest importance for the growth of culture and identity of town covered with this theater that was so dear, and still is at least in memory, and in Bassano Bassano.

A theater that has existed in its long-form and in its original role-was still alive and vivid, as alive and vibrant to be a city. Much more than just a stage.

perhaps a place of encounter and dialogue, fun and civil development, facing the natural balcony overlooking the mountains, which was once called Via delle Grazie and today, for a perpetual memory of a tragic period of our Recent history bears the name of Avenue of the Martyrs.

Because the theater and history, have always walked hand in hand.

Just add, while we're at, another name: that of Napoleon Bonaparte. Illustrious foreigner, although controversial and unpopular in these parts.

There is in fact the Emperor of the French to leave a trace, indirect but vital in

history of the town theater. Why the "New Theatre" in Bassano, which was officially inaugurated four years later, was opened for the first time on August 16, 1807.

An evening institutional, as we say today, he did raise the curtain for a performance of the Philharmonic, which performed a cantata onomastics in honor of Napoleon I. We were in the heart of Bassano "French" after the Veneto, which has long contested by the Austrians and the current cousins \u200b\u200bbeyond the Alps, was back in 1805 under the dominion of France. And that domain: organized to perfection by the great little course that also imposed the Napoleonic Veneto its laws and the division of territory into departments, districts and prefectures.

Treviso Bassano belonged then to the Department of the Tagliamento, and the theater opening night also participated in the prefect Giuseppe Casati, maximum territorial authority.

the first chance meeting between Bassano and what would thus become their theater was a concert in honor of the boss. And our fellow citizens at the time, entering the new house of culture and entertainment, they certainly should be proud of that.

The New Theatre of Bassano, designed by James Baute and built in just two years, was presented very well by the standards of style and architecture of the time, already widely tested in Venice.

The room had four tiers of boxes, 21 per row. There was no lack decorations, entrusted the project to Pelandi said "Maureto, and executed by the Saints for the figures and Bagnara, who would later also signed the scenes, for the decorations. Above the lobby, was also obtained a meeting room and the front, rather than essential, fits in the continuum of the facades of nearby houses.

In short: a gem of a brand-new to a city that he deserved it.

to promote the idea of \u200b\u200bthe theater-and to approve the design of Bauta after years of discussion, rethinking and rejection of other projects too ambitious, but too expensive-it was the 'Academy', an institution created for purpose and consists of prominent citizens.

The same people who, at the birth of the New Theatre, would become the owners stages of the measure to the finishing work and at the same theater management.

The opening of the new home theater was truly a historic event for the city.

He spoke from the late eighteenth century, when the existing "Brocchi Theater" or "Brocchi-Marinoni" or "Old Theater"-private facility owned by several families of ancient strain was becoming too small and too inconvenient for a growing audience. The Old Theatre, also made collections with a placard "mailbox", comical and playful, that is ill-suited to

Bassano culture of the late eighteenth century.

Thus was born the need strongly felt by the middle class of that time, a theater, we would now call "civic," from the didactic and educational content, so dear to the Enlightenment.

A "place of ideas", in short, that would put an end to licensing of low-profile comedians and

public private theaters in order to rise to appointed place of moral growth.

was the intellectual drive that led to many Bassanesi reluctant to support the construction of a new theater devoted to the Muses and is intended "to dominate as a secular temple in the heart of the city."

followed long years of debate and discussion, and even heated debates between supporters of the "Theater of the Ancients"-free stage, backstage and lounges, and lovers of the "Modern Theatre" that the lodges and boxes instead he had, and that eventually they would blunt.

early nineteenth century finally came to the point: January 25, 1802 the Academy, consisting of 29 members, met for the first time in a café in the square, the project was approved by the competent authorities 'year and after only four years the theater was a done deal. These days, it would be unthinkable.

The New Theatre was built in Bassano Contrà delle Grazie (that's today's Avenue of the Martyrs) in the selected and already purchased by the promoters, "the bottom with hollow side walls crumbling and threatening ruin, with the risk of nearby factories, of because of the Nob. Mr. Federico Remondini.

Building Theatre, the Academy put it in place an important work of urban renewal.

The opening to the public, as said, occurred in 1807 at the instigation of a celebration of Napoleon.

But to wait for the official opening yet. The delay was motivated by the recent corrective measures on the walls and beams of the ceiling imposed by the severe test committee composed of Anthony Bassano and Vicenza Gaidon Giacomo Fontana and James Verda.

's solemn inauguration took place last September 15, 1811.

The representation chosen for the opening night was the comic opera "Don Papirius, that the woman of multiple characters, poetic text by Giuseppe Palomba, with music by Carlo Guglielmi, followed the execution of the ballet" Mastino della Scala "the Galzerani.

inaugural opera's music does not really know nothing. E 'was instead handed the book that allows us to detect the character "Neapolitan comic" of the plot and characters, chosen against a time when Europe was on the stage instead of in the popular melodrama of tragic Gluck, Cherubini and Spontini.

Bassano del Grappa, on this occasion, to show others its uniqueness.

and the same comedy of Don Papirius and women who assume various disguises and characters was very strict and not suited to the climate of Bonaparte, the French revolutionary who had also led to Bassano.

For the opening did not look so for thin and already something of our theater expressed very clearly their autonomy, closer to the spirit and expectations of the public citizen to the official culture of the dominant regime.

years passed and changed history: Napoleon fell and with it the "Kingdom of Italy" of the French, the Austrians came back to town. Then the Restoration, the entry of the United Bassanese Lombardo-Veneto, and the riots of '48 and then the Kingdom of Italy.

A whirlwind of changes and political upheavals that did not stop at the Teatro Sociale New, and then go on, brilliantly, for his road.

We can say that from September 15, 1811, the official date of the inauguration, began life ultrasecolare del Teatro Sociale di Bassano, full of triumphs, successes and flops more or less memorable.

The load-bearing part of the repertory was made up, needless to say, to the opera: the ballet and drama were always considered a minor genre.

And in this regard, the public Bassano was really well used: all the new opera, just a few years by the "first" at La Scala and La Fenice, passing regularly at the foot of Grappa.

In the early nineteenth century, just to name a few, there is the massive presence of Rossini.

In the following decades, running the programs of the time, but we meet with Bellini and Donizetti works more universally known as the Norma and Lucia di Lammermour and other compositions, like the Capulets and the Montagues or Poliuto, known by the experts and by music lovers but not by a wider public.

Last Donizetti is represented by four works in Bassano in 1838, a period when you add a more intense production of Verdi: Nabucco, Trovatore, Rigoletto, La Traviata.

The relationship between Joseph Verdi Bassano and deserves a separate discussion. With the exception of Otello and Falstaff, Verdi's entire repertoire in fact passed on the scene Bassano: even the pompous Aida, believed to be poorly suited to the limited size of the stage of social, Bassano had his baptism on 8 September 1906 and was triumphantly repeated until 7 October.

The President Theatre was actively engaged in the direct production of the works: choose the singers, chorus and orchestra and kept them busy throughout the month of the two opera seasons, held at a carnival and autumn.

The artistic director was careful to particular programs and content, placing second in order the fame of the performers.

A constant in the work of Teatro Sociale in the nineteenth century is in fact the rejection of the "big name" at all costs, or the "star" of the moment, in favor of emerging singers and singing lesser known companies, but always reliable and above all very dignified.

include a "news" on the bill and the repetition of work by attractive destination for box office just because performed by a singer beloved by the crowds, Bassano always chose the first option.

a philosophy that in the long run would be proven to be successful thanks to the refusal of Pharaonic fittings and above the follies and caprices of the "stars", appealing to the public, but disastrous for the finances of a theater, the social always had its regular opera seasons of opera and ballet performances, avoiding the fatal closings are so frequent in history Vicenza and Italian theaters.

You might say that, thanks to its theater, Bassano has been ever since one of the capitals of the musical culture in the Veneto, in the name of what today we would call "open", "innovation" and even "testing ".

Besides the giants of Italian opera in the nineteenth century came more often at the foot of the Grappa also the compositions of the authors called "minor" and even less celebrated local glories: by Pacini and Mercadante in the Coronaro Apolloni, these valuable members of the school of Vicenza.

But over the decades changed the tastes: the sunset of the century theater Bassano would abandon the interest of the young Italian school, but to seal the triumph of La Bohème April 12, 1898-the great love for James Puccini, accompanied by works of the "realist melodrama" signed by the other big era: Mascagni, Leoncavallo, Giordano, Cilea, and even with Bizet's Carmen and Massenet's Manon with.

That was a season of great emotions and representations, that even if the bill from some alternate appreciated by young and emerging innovations, gave "the" the new trend brought by the wind of the new century.

dawn of the twentieth century, the Teatro Sociale expanded her repertoire to works that demanded great productions of artistic and financial commitment: the presence of huge orchestras, choirs and large masses of dancers on stage.

The Boito's Mefistofele and Verdi's Aida again contraddistinsero posters of the early twentieth century.

In 1911 Outreach celebrated his first century of life to celebrate the centenary it was decided-with a healthy dose of risk, ambition and recklessness-to represent Wagner's Lohengrin, in an edition handed down to posterity as "honest and valuable ". A reception also encouraged by the maturity and the evolution of public taste Bassano, ready to accept more easily

-stress as the critical period - "the new ideas in music" and "melodies that some years ago would have seemed abstruse. "

World War obviously entails a painful separation of the Bassano cultural community interests related to the presence of a theater town, and overwhelmed with far more serious priorities.

The end of the conflict, not only the social but the entire organization for Italian opera, was a moment of great crisis: the costs to set up and maintain a work on stage for a dozen evenings became prohibitive for Academy Bassano.

But the "light" was never off, and after the '20s continued regular opera seasons: with only a few performances a year, but finally successful titles and great names among the performers, unlike the century Previous -Able to draw large crowds to the theater and send them into raptures.

Since then, and in the following decades, more than a few superstars of the Italian bel canto have made an appearance at the Social for a memorable performance.

Chronicles, in particular, remember the outstanding performance of Mafalda Favero in 1929 gave voice to a Manon Massenet's full of poignant and touching melancholy, then again, twelve years later, creating a defined Mimi La Boheme Puccini "unforgettable".

Again in 1941 the audience was enraptured by the Social Lucia Lammermour played by Lina Pagliughi and triumphant appeared in January 1942, Toti Dal Monte's great that he gave to Bassano a bright and mischievous interpretation of Rosina in Rossini's Barber of Seville.

And what about Tito Gobbi? The high baritone, true glory of Bassano del Grappa, the prophet was happily at home: the city that welcomed her with an exciting happened the character of Scarpia in Puccini's Tosca, represented in 1942.

Names, dates, memories and suggestions of an important story for a century and a half now weaving the indissoluble link between the theater and its city.

A great love grew up with music, but also prose, the Social Bassano, had written important chapters.

Since 1840, when this form of artistic representation, which until then had found its spaces to theater or Brocchi Teatro Vecchio, in the courtyard of St. John and in-room Guadagnini made its official appearance in the programs of the New Theatre Then Sociale.

The repertoire of the theater companies in the first half of the nineteenth century, alternated between the tragedies of Alfieri and Monti in Goldoni's comedies, with some delay, so the romantic drama "modern."

The first mention of a performance of drama at New Bassano dating back to May 1, 1840, with the arrival in town of the "actor Gustavo Modena repute" that the company of Eduardo Majeroni played Clermont namely the artist's wife.

The following year on the scene of the Theatre, for his night of honor, the "sum dramatic actress" Adelaide Ristori, which received an enthusiastic reception.

But beyond a few moments and prestigious name in passing, for many years in the nineteenth century the drama theater was relegated to a secondary role in Bassano, a temporary and brief exception to the "patriotic drama" in vogue after the annexation Veneto and Italy still to Goldoni and for young authors in the latter part of the century.

A story in itself, also in this period was that dialect written by the companies whose success at the box office was really sensational. For the biggest names in comedy and Venetian prominent regional companies such as Giacinto Gallina Ferruccio Benini, people did follies, with seats and subscriptions, as reports tell of the time - "all booked several days before opening, and with the crowd that fills the theater since the first week in order to overcome the most beautiful memories. "

A Theatre alive and vibrant, yet and always. The success of dialect prose was likely to continue well into the twentieth century, but with larger and larger spaces granted to the theater involved, with texts by Ibsen, D'Annunzio and Gorki, geared to the concerns of the new century, interpreted by some of the Bassano "great" Italian of the spotlight: Hermes Zacconi, Irma Gramatica and Teresa Franchini all.

Thanks to the great opera, alternating with the playhouse as well as operetta, the intense activity of the Teatro Sociale di Bassano continued to shine on his own.

The New Theatre was even able to overcome in the short agility competition of another theater built in the late nineteenth century in the city: "Politeama Donizetti, opened in 1894 and built on a concept of" democratic "in which the lodges were not divided into stages.

Despite a good view of the stage, but the Politeama suffering of poor acoustics. Nothing to do with the excellent "sounding board" of the Association, who returned soon forced into vogue shortly after the "Donizetti" to close its doors without a trace in the cultural life Bassano.

The last great moment in the Teatro delle Grazie Contrà dates back to 1941 when the "little theater Bassano"-as it was called by a newspaper national period - celebrated its 130 years with the memorable season of opera Manon and Lucia and the dramatic company of Mary Melato.

The rest is recent history and above all more sad. At the end of World War II, the Social-used as a prison for the mopping-del Grappa was now "worn out and offended."

the Academy, who had accompanied the fate for almost a century and a half, she found herself overwhelmed by debt and the last members tried to salvage what it can offer to the City Theatre.

But the town council, taken by many other serious problems in the years of reconstruction, declined the invitation.

was the real beginning of the end. A decline accelerated by the mentality of those years, not more inclined to consider the structure of a seven-century theater as a "cultural heritage" and inclined rather to see how old, useless and even sinful-in the name of false moralism-the presence of boxes and shelves in the darkness of a cinema.

's right, because the new owners of Social, appearing after the "no thanks" of the municipality, became the glorious theater in a cinema. The project "modernist architect Francesco Bonfanti were demolished four rows of boxes, the stage was rebuilt, the auditorium was enlarged and extended the gallery with the abolition of the meeting room with four columns located above the atrium.

In 1949, the inaugural film "Joan of Arc" with Ingrid Bergman's character, Bassano del Grappa had so his new film "Astra", but no more than his dear old theater, sacrificed too quickly to new trends.

For decades, the memory of all that has remained in oblivion of his contemporaries, and today the Astra, the property passed back, waiting to meet his new destiny.

But strong pushes new intellectuals, such as those that two centuries ago led to the construction of the theater, now asking aloud the return of the property in what was its historical function, resulting in a civic debate on the subject that is unprecedented in recent years.

A second "New Theatre", to satisfy the turmoil of a city of culture thirsty and hungry for shows.

E 'can be a challenge, because the story, this long and beautiful story, it was not yet complete.

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The First Thing (2) The First Thing

On the set within the Pharmacy S. Marco.

Trish Stratus Taking Bra Off

a really good movie! All talented actors, the exceptional Sandrelli. Well done all those who have minor roles. A large choral work

masterfully directed by Paolo Virzi.

A film to be made next

shouts to all the other masterpieces of comedy Italian.

thanks to those who still survive ago

Italian Cinema with a capital C. ...

This is my small tribute took on the set that I have seen very closely. Good swim at all!