HISTORY: L’Arena di Verona is a Roman amphitheater in the historic center of Verona, Padua icon along with the figures of Romeo and Juliet. It is the third largest Roman amphitheater in Italy after that of Rome – the Colosseum – el’anfiteatro capuano, and is certainly among the best preserved.During the summer it is proposed the famous festival opera and stage are also many famous singers. A well established event on the calendar arena is also the final evening of Festivalbar, proposed in two live TV events, where you determine the winner of the event which runs Italy in the summer.
The monument – a symbol of the city – takes its name from the Latin name indicates that the sand which covered the stalls. It is the third largest Roman amphitheater (Colosseum el’anfiteatro after di Capua), arrived in good order until today. The Romans built it in the first half of the century. AD to house the shows of which were particularly enthusiastic: the fights between gladiators and the hunting of wild and exotic animals. Erected outside the city walls (so you can make it easily accessible from surrounding areas and to keep outside a possible source of crowding and violence), the building was constructed while maintaining the orientation of its axis and systems drainage water relative to the grid varied from the Roman city. The Arena was used for centuries as a source of building materials for reuse in the subsequent construction of buildings: this is the main cause of its present incomplete. A heavily farne expenses was the outer ring of walls, already diminished in the sixth century, then destroyed by an earthquake in XII century. The ring consisted of a triple order of overlapping arches, Tuscan-style architecture and was made entirely of limestone della Valpolicella, white and pink. Worked ashlar, the height was about 31 meters. Today, the outer covering is only a small portion, the so-called “Ala”, of four bays. It preserves almost intact, however, the inner ring with two orders of 72 stone arches, which form an ellipse around 140X110 meters. Inside, the audience will raise their series with 44 tiers of seats, reached by 64 “vomitatoria” spread over four floors (which s’accedeva through a complex system of ladders). The cavea and stalls have been restored in modern times. Under the monument have been found traces of a complex plumbing system through which water is introduced to the water games and provided the cleaning of the theater. The rich sculptural decoration of which was certainly with the building, little remains. The most important finds are kept in the Museo Civico Archeologico. The Arena was always used for spectacular events. After the games of the Roman period, in the Middle Ages and up to half of the eighteenth century. There were held jousts and tournaments. Since 1913, the Arena has become the seat of the most important opera house in the world with the ability to offer up to 22,000 seats (in Roman times it is supposed to reach about 30,000 seats). The huge space of the stage allows, during the summer, the possibility of a season marked by great performances, with special emphasis on Verdi works. Flagship opera all’Arena are colossal set for Aida. Is a town of typical Roman imprint, in its plant in checkerboard divided hinges and decumani, but subsequent amendments made in the Middle Ages, with superb facilities Romanesque and Gothic, are hidden but not deleted. Verona was born on the banks dell’Adige Lessina in the plain, in a strategic point for trade with northern Europe.
No monument, among the many who ingemmano the city of Verona, is perhaps equally known as the Roman Amphitheater, commonly called the Arena, now embedded in the center to act as a fifth of the square known as the Bra ‘, but a time when the Romans built it, located on the fringes of the urban area, outside of the walls, a little ‘as it is now the modern stadium, the monument, not only embodies almost twenty centuries of local history, but became gradually over time also the very symbol of nobilitas civitatis, easily traceable to the Roman cult of which has always been, in medieval Verona and humanities on shields.
“Now, perciocché ornaments cities among others are the origins of those, if illustrious and ancient are the magnitude and magnificence of the buildings, and finally the names of the famous men and clear, no doubt, none, that our city has been of such things, besides all the other cities of Italy, et abbondevole abundant, as you can see part of those things that still remain standing, partly for those who they are themselves destroyed in But stories and memories of the huomeni yet remain alive. ” Wrote in the early decades of the’500, Torello Saraina in his De origine et amplitudine civitatis Veronae dialogue he imagined, and perhaps even actually happened, with other characters of humanistic veronese, including the John Caroto that the Roman Verona had to explain precisely the Saraina, in a work destined to remain the best of the cult graphic document to the antiquities of Verona.
But before proceeding further, we try very briefly to provide an identity card dell’Arena. The most solemn monument of Roman Verona, with different orders of steps, and at the center, or an arena for gladiatorial shows, combats of wild beasts or with other manifestations of popular character, was built of marble blocks with well-squared in the first century AD, namely between the end of Augustus and the empire of Claudius. Monuments of this kind is one of the best preserved. These are the first steps that show its grandeur: the axes of the stalls measure approximately m. And greater than 73 m. Less than 43, the axles instead of the entire building correspond to m. 138 m 109 without the wing and a m. And 152 m. 123 including the walls of the wing. The perimeter of the range of current m. 391 and including the wing is m. 435.
The amphitheater consists of three concentric walls: the first is external to us only that part which is commonly called “Ala”. This wall, like the other connected to the second through rings vaults, was the basis for some m. 2.50, that the first floor is coming down to m. And 1.80 m per second 1.10. The height is approximately m. 30 and in each floor there are 72 arches. In the there were only four per floor, high respectively m. 7 m. And 6.36 m. 4.50. The steps are all in the amphitheater of Verona marble and on average are high cm. Wide and 41 cm between. 63 and 71. The steps are 45 and vomitori (ie openings for entry and exit of spectators) are 64. By a staircase to the transition is facilitated by steps interspersed. Under the terms of the stalls are located (but now you can not visit) tunnels, andito and passages that once were used, partly used again, for the operation of the complex.
A cult – that the Arena – which has roots in remote quell’umanesimo Carolingian who left – about a thousand years ago two important documents – one chart, the other literary – of the nobility of Verona: The Iconography Raterian and to the Rhythm of anonymity Pipinato or Versus de Verona.
Nobile, specifically, memorable, great, is, in fact, defined by the amphitheater Rater bishop, on the fringes all’iconografia that he is named. Building well-known, famous, special, distinct from the rest, top, famous, glorious, worthy to be told, big, tall, of large proportions, “noble, precipuum, memorable, great theatrum ‘, and then built a decoration City: ad decus constructum sacred Verona tuum ‘, and have risen at that time a symbol of greatness and fame of a city worthy of all praise and addressed, including urban emergencies such importance to challenge the centuries: “Magna Verona namely, Valeas for celebrent et semper saecula gentes nomen in orbe tuum.
Similar sentiments were expressed also the author of Rhythm Pippin, while opposing the pagan nobility of Verona, which had made it but deserved tribute to the Christian nobility of Verona. In defining Verona magnificent and illustrious (Magna et preclara), says the orderly layout for square (for quadrum […] team), defended by strong walls (murificata firmiter), in which circuit rise, better shine, forty-eight towers, of which eight are excellent, high above the others (quadraginta et octo Turres fulget for circuitum octo ex quibus sunt qui eminent omnibus excelsa). The author of Rhythm then describes the individual emergencies, including first the Amphitheater (laberintum altum), and then the hole, large and paved.
Also in the statutes of 1450 – probably the suggestion of Sylvester Lando – the Arena is called “memorial edificium et honorificum civitate.” And, quite rightly noted in this connection the Franzoni, for the first time an official document released by the Registry town all’Arena recognized these attributes that we recall the expressions contained in iconography Rateriana. And from there a few years, a Registrar of the Municipality, the humanist Virgilio Zavarise, tears sull’anfiteatro corroded by time, thinking it would be reduced as a shelter for women of malaffare: “Girls with their work rendered unclean places to honor those who are lovers of value. ” The meretrici were subsequently removed.
The reputation enjoyed dall’Anfiteatro in the civic consciousness of veronesi led the monument to increasingly assume the character of the very symbol of nobility. Hence, care for its preservation and its restoration, which is still celebrated even, and always humanistic age from Tinto: ‘Et percioché some years from here, for much care honorata magnificent decurioni de, et de Clarissimi Rettori City, will be recovering, and restoring, potiamo hope that, following que bei spirits and in these gentlemen, with noble emulation, it successors continuing habbino our grandchildren to see this clear mole, mostly in old terms, with clear Demostration the generosity of citizens, and augment the city of splendor megliore.
South labyrinth, we saw the undefined, the monument, dall’lconografia Rateriana: and the legend of the labyrinth goes back even a story, reported in the chronicles of Zagata, which tells how one of those who escaped with all’eccidio Aeneas of Troy and landed in Italy, ‘and was a woman called Madonna Verona, and she saw the beautiful country Essar, et aconzo (= suitable) for she has built the Labyrinth, which is called La Rena. Yes (= so) that the building then went to a growing city and she was called Verona.
Always on the Arena there is another legend, reported in the “Medieval Legends,” by Arturo Graf: tells of a veronese that, while to avoid the death penalty for a crime committed, would have given any consideration. He was asked to build a night in a theater building that would contain all the inhabitants of Verona. He then promised his soul to the devil who erected the Arena, however, remained unfinished (the wing) for the occurrence of the “Hail Mary morning, when the Devils were forced to sinks.
Finally, other legends concerning the birth dell’Arena are shown – in his poem in octaves – from Francis Corna da Soncino, the expiry of the’400: Having alluded to a legend who did the authors seven kings, of whom, however no other news The Corna alludes to a second legend, which seems built the Arena “by Diatrico ‘, ie by Theodoric, king of the Ostrogoths amal, which, for having one of its residences for its Italian Verona, passed in the German saga with the epithet of “Dietrich von Bern”. Yet the report also Corna tradition attributes the erection dell’Arena a Roman consul, who, banished from home, or from Rome, and hiding in Verona, where he would be perched between mountain and river, between the Colle di San Peter el’Adige, succeeded in winning in the end a civil war on a venutogli army against Rome, he won the troops were forced to erect the Arena, once again called the labyrinth.
A step like this – remember Sartori – could not fail to suggest a few more careful a scholar, although marred by distortions understandable due to the very nature of a transmission of news through the medium of popular stories, with a history of Roman , specifically with those tragic events of 69 AD, which saw Verona between cities to a greater degree involved in the tragic civil war in which, in the plain between Verona and Cremona, the first contrapposero the followers of Otto and calves, then those Calf and Vespasian, and hence led to the final triumph of the Flavian dynasty, including the valuable support of military and Marco Antonio Primo Arri Varo.
During the Scala, the amphitheater was even admired by Fazio degli Uberti, who – referring to the legend of Theodoric – in its Dittamondo wrote: “I saw the Arena which is in the form chome / Rome Colliseo although el chivo / Diatrico [Theodoric] brings name and fame “and Moggio de ‘Moggi, in a poem full of classical rhetoric, while a century later, little more little less, Francesco Corna da Soncino, in his Fioretto, still pay as you several eighth saw the monument, in addition to the many ways to describe other “ruins” scattered throughout the Roman city.
Among the many uses to which he was immediately employed, the Arena was used always and especially spectacular events. In Roman times was used for shows such as the struggles between gladiators. A reziario Alexandria, named Generoso, twenty-seven meetings held there. On the sides of his funeral inscription is carved a trident and a dagger, the weapons with which he fought. Less fortunate than him secutore Edon supported only eight matches and died in 26 years. The Modena gladiatore Gauch, died at 23 years instead of its eighth meeting: his wife and his supporters buried in the necropolis of San Zeno. The gladiatore Pardon, from Dertona, sposatosi to 21 years, died at 27 in its eleventh meeting.
In the Middle Ages and up to half of the eighteenth century were of use in the Arena also jousts and tournaments. The first mention of a carousel, which occurred May 24 in 942 ‘Arena, it would be a document – content, however fanciful enough – some compiled by James, physician. It said that to honor the wedding of the daughter of Panfili Galeotto de ‘Chess and the wife of Galeotto Nogarola, took a solemn nell’anfiteatro carousel which were courts of the field with the principles of Padua, Ferrara, Ravenna and Mantua.
Carlo De Brosses, the first President of the Parliament of Dijon, who was at the Arena in July 1739, then wrote: “I do not know get used to the modest price of the shows. The first 10 seats cost money, but Italy has so much the taste of the shows, that the amount of people that there is appropriate offsets the low price. Thank God, there is no penalty to find places to Commedia di Verona, it is in the middle dell’Anfiteatro and the audience did not sit all that into the open on the steps dell’Anfiteatro, where there is room for thirty thousand people ‘.
But since 1913 is that the Arena was finally discovered in what is now known as the first real and most important opera house in the world. L’Arena di Verona Opera, which began with the memorable “Aida” then (an idea born from discussions of Rovato, Zenatello, Cusinato and Fagiuoli) a long series of musical seasons, brought a series of successes earning the title of “Scale out” and gradually graduating singers and musicians, including Maria Callas. Since then, the Arena has become the vehicle of the most famous music, it was reported treble of the greatest singers, the place of execution of the most formidable choirs, especially Verdi.
It was the evening – in that distant 1913 – 10 August: magical evening for the right amount of stars who were on that same night, to burn and fall. It was a magical evocation of an exotic Egypt skillfully reconstructed, rather than on the banks of the Nile, on the banks all’Adige, with temples and palm trees that were born of magic between the stones of a Roman amphitheater bimillenary the hands of Hector Fagiuoli, architect cry , close to the archaeological data, but not insensitive to that romantic atmosphere in the same Verdi and his librettists drew. On the podium the unforgettable Tullio Serafin, conducting an orchestra to put together a few weeks before and yet composed of talented “professionals” and perhaps even more valid “amateur” anything – at least according to the news – that a ” ‘armata Brancaleone “. Performers main Ester Mazzoleni, Gaudio Mansueto, Carlo Mangini, Ugo Malfatti, Amerigo Passuelo, Mary and John Gai Zenatello Zenatello, the latter also as a promoter of the initiative, as Verdi commemoration, the centenary of the birth of the swan of Busseto .
We can still imagine that first read, followed each year by many others. Pass before our eyes and coaches coach, uniforms and military clothing gala, artists and politicians, nobles and common people, writers and critics, all in their own way involved in the show and all, themselves, part of a show for the first When the world was open, but with the rigor of the theater closed, an opera, and all actors in a triumph in the “triumph” ‘anointed – as he wrote in that first occasion, the national newspaper L’ Arena – the delirious enthusiasm of a cosmopolitan crowd ‘all de celebrated “the victory of Zenatello content” and of “his bold initiative.”
One machine – one of opera performances – consolidated in a few decades, with the valuable contribution of all those who worked in the field and work to ensure this growth oak at first and then a development, with the extension of its green branches. From the small seed thrown away in those days was born the current Ente Autonomo Spettacoli Lirici Arena di Verona, with its famous performances throughout the world, attracting crowds of passionate Italians and foreigners.
The history of verona in brief
Verona, inhabited by the Gauls, it became Roman nell’89 ac and increase its importance and its glory in later centuries. The remains of the doors of Borsari and Leoni mark the route of the wall of the first century BC remade in the third century AD, after the barbarian invasions.
The door of Borsari was erected at the entrance to the city in Postumia; two are still visible in white stone arches sormontanti two galleries with six windows each. You can still track intravfedere entry indicating the date of construction of the second circle of walls. Port instead of the Lions is only half right, with two curtain walls.
In the southern part of the city was built the amphitheater at the end of the first century AD The famous Arena di Verona retains the point that “the wing”, the track of The three arches in white stone and pink Verona. The huge internal cavea, developed in 44 steps concentric ring divided into 18 sectors and dominated by a corridor, is the result of a renovation during the renaissance. The Arena is the third largest Roman amphitheater, the Colosseum and after that of Capua.
West dell’Arena along the river Adige, l ‘arc of Gavi was erected in the first century AD in honor of the family Gavia are still visible three tubes, with the opening of the two largest central side, framed by Corinthian columns with a newspaper.
Further north, the river Adige is passed from the bridge of stone, whose first two arches of the road that leads to the Hill St Peter’s dates back to the first century BC.
On the slopes of the Colle San Pietro, in a panoramic position, there is the Roman theater of the first century BC marble original. It is one of the most beautiful Roman theater. Near the theater is the archaeological museum.
PROGRAM ARENA OF VERONA 2013
AIDA
SEEDLING OF THE ARENA OF VERONA
You will find below the cover prices
Poltronissime “GOLD” :
- Venerdì/sabato Altre: € 198,00
- Altre rappresentazioni: € 183,00
- Romeo et Juliette: € 139,00
Poltronissime:
- Venerdì/sabato Altre: € 168,00
- Altre rappresentazioni: € 153,00
- Romeo et Juliette: € 119,00
Poltrone:
- Venerdì/sabato Altre: € 127,00
- Altre rappresentazioni: € 116,00
- Romeo et Juliette: € 89,00
Poltroncine centrali di gradinata:
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- Altre rappresentazioni: € 94,00
- Romeo et Juliette: € 72,00
Poltroncine centrali di gradinata ridotte:
- Altre rappresentazioni: € 79,00
- Romeo et Juliette: € 59,00
Poltroncine di gradinata:
- Venerdì/sabato Altre: € 84,00
- Altre rappresentazioni: € 73,00
- Romeo et Juliette: € 59,00
Poltroncine di gradinata ridotte:
- Altre rappresentazioni: € 59,00
- Romeo et Juliette: € 49,00
Gradinata D/E:
- Venerdì/sabato Altre: € 27,50
- Altre rappresentazioni: € 25,50
- Romeo et Juliette: € 19,00
Gradinata D/E ridotta:
- Altre rappresentazioni: € 21,00
- Romeo et Juliette: € 16,00
Gradinata C/F:
- Venerdì/sabato Altre: € 23,00
- Altre rappresentazioni: € 21,00
- Romeo et Juliette: € 17,00
Gradinata C/F ridotta:
- Altre rappresentazioni: € 18,00
- Romeo et Juliette: € 15,00
90 ° Lyric Festival 22 june – 2 september 2012
DON GIOVANNI | Wolfgang Amadeus Mozart
22 – 29 GIUGNO · Juni · June – Ore 21.15
6 – 12 – 18 – 25 LUGLIO · Juli · July – Ore 21.15
AIDA | Giuseppe Verdi
23 – 28 GIUGNO · Juni · June
8 – 11 – 15 – 19 – 22 – 24 – 28 LUGLIO · Juli · July
2 – 5 – 9 – 12 – 19 – 26 AGOSTO · August – Ore 21.00
2 SETTEMBRE · September – Ore 21.00
ROMÉO ET JULIETTE | Charles Gounod
7 – 14 – 21 – 26 LUGLIO · Juli · July
CARMEN | Georges Bizet
30 GIUGNO · Juni · June
5 – 10 – 13 – 17 – 20 – 27 LUGLIO · Juli · July
3 – 7 – 10 – 24 – 28 – 31 AGOSTO · August
TURANDOT | Giacomo Puccini
4 – 8 – 11 – 17 – 23 – 30 AGOSTO · August
TOSCA | Giacomo Puccini
18 – 22 – 25 – 29 AGOSTO · August
1 SETTEMBRE · September
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