Although the appearance of this late-modernist theatre is reminiscent of the 1960s or 1970s, the history of the Teatro Regio in Turin dates back to the mid-18th century. Unfortunately, just before the Second World War, the rococo theatre burnt down and it took 37 years to rebuild it. The designer of the new theatre was the modernist architect Carlo Molino, who encapsulated the dynamic shapes in the old theatre’s façade. The jewel of the building is the intensely red auditorium with the “glass cloud” on the ceiling.
Golden theatre
At the beginning of the 18th century, the Savoy ruler decided to build a new royal theatre to transform the space in Piazza Castello in Turin. The architect Filippo Juvarra designed most of the new edifice, but did not live to see the end of construction. It was his successor Benedetto Alfieri who was responsible for the building’s incredibly ornate interiors.
The original Teatro Regio edifice was a gold-clad Rococo style that made the theatre the representative building of Turin. Ubiquitous sculptures with the obligatory rococo shell adorned the walls and ceiling elements. Huge frescoes were applied to the vaulted ceiling and the layout of the auditorium guaranteed great acoustics. Even the curtain was a work of art due to the “Triumph of Bacchus” motif stretching across it. In the 19th century, the interior of the theatre was rebuilt in a neo-classical style, but in the second half of the century, the old style returned to the building, this time in a neo-Baroque edition.
During its almost 200-year history, the theatre was visited by many famous figures, such as Wolfgang Amadeus Mozart. The technological sophistication of the building provided many opportunities for outstanding stage designers, who created various exotic scenes. Unfortunately, the luxuriant cultural life of the Teatro Regio slowed down with the historic end of the 19th century. First World War I and then the massive fire of 1936 effectively ended the theatre’s activities.
An eclectic labyrinth
Attempts at reconstruction began as early as 1937, but little was done. It was not until the mid-1960s that the city commissioned Carl Mollin to design a completely new theatre. The architect made a name for himself with several buildings and interiors that were stunningly modern and eclectic. Moreover, he was an eccentric man of many talents. Mollino had achievements in architecture, engineering, design, photography, skiing and even aviation. His style was the result of an eclectic mix of surrealism, futurism and other ever-newer fashions. In the interiors, the architect was able to combine arabesques with a zebra pattern, so that the room would not be nauseating.
The new Teatro Regio is thus the embodiment of Mollina’s eclectic passions. Behind the original 18th century façade hides a diametrically opposed interior. The new part is clearly separated by glass walls surrounding the theatre’s guests. Bathed in red, the foyer is mainly made up of several rows of stairs. The steps form something of a labyrinth, which is not an accidental observation, as Mollina was inspired by the drawings of the 18th century architect Giovanni Battista Piranesi. The illusions and impossible shapes of the stairs create a ‘labyrinth of time’.
Even in this room, it is apparent how perfectly matched are seemingly disparate elements such as granite from Luserna, modernist lamps, bronze details or concrete coffers. The last element in particular stands out, with its sharp diamond shapes. The interior could not lack large mirrors and glazing either, and to top it all off, some of the walls are covered with dark brick. Interestingly, both the exterior and interior walls of the foyer use the same design of pushed brick.
Liquid hall
The eclectic foyer, however, is only the harbinger of the architect’s imagination. The main hall continues the red theme, but partially breaks it with a white ceiling. The dynamic shapes of the interior are a symbol of modernity, which is particularly noticeable from the stage itself, which resembles a TV screen. The fluidity of the shapes is emphasised by the light purple lines running across the ceiling. Looking up, it is also hard not to notice the huge ‘glass cloud’. This is actually a vast chandelier consisting of 1,762 thin aluminium tubes with bulbs. This arrangement is somewhat reminiscent of the dangling stalactites known from the demolished Grand Theatre in Berlin, which you can read about HERE.
The whole thing is meant to resemble the shape of a woman’s hips, which directly relates to Mollina’s other passion – women. Interestingly, such a large hall can accommodate a total of 1,750 people, 250 more than the original Teatro Regio. The entire building consists of as many as eight floors, but four of them are located underground. It is worth mentioning that there is another smaller theatre, the Piccolo Regio, which can seat 380 spectators.
The work of a lifetime
The theatre was completed in 1973, after six years of construction. Unfortunately, Mollina did not enjoy his masterpiece for too long, as he died at the end of the summer of the same year. Despite the architect’s death, the theatre continued to develop, and in 1990 a large bronze gate by Mollina’s friend Umberto Mastroianni appeared in the arcade of the theatre’s façade. This is no ordinary metal gate, but a real work of art entitled: ‘A Musical Odyssey’. Noticeable on it are symbols of dance, drama and comedy.
The Teatro Regio in Turin is one of the most interesting examples of the dynamic modernism of the 1960s and 1970s. The building impresses with its bold eclecticism of materials and the architect’s coherent ideas. What’s more, Mollina’s boldness paid off, as to this day the decor defends itself with elegance and modernity. The loss of the gold-clad 18th century theatre must have been painful for the city, but the long-awaited reconstruction has created a new icon of Turin.
Source: Teatro Regio Torino
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