The History

  To the necessity of filling the gaps with the narrow scenic space of the "Bellini", the whipped pride was uniting municipalistico of a capital whom it was missing a theatre, already present and acted in other cities of the island, like Catania and Messina. The new bourgeois class in ascended was claiming his space, the place where to consume the layman rite of the work. Of the "Bellini" the lack of a magnificente was criticised for example I show, that was giving shine to the city and to the public who was attending it. In 1864 the ban of competition is published for « A new theatre in Palermo ». At this date it will be necessary to wait well trentatre for years in order that the leafs open for the first time. In the meantime there is built by the architect Damiani Almeyda another theatre, the Theatre, on the models realised to Pisa, Livorno, Florence and Naples, inaugurated with « The Capuleti and the Montecchi » of Bellini. In the season 1892-93 the prestigious rod of Arturo Toscanini was addressing to you the Catalans' "Loreley" and « II Vessel ghost » of Wagner. The ban of competition was posted up on all the walls of the city and published in the greatest Italian newspapers and European reviews of architecture. The works must be presented after two years, term then extended in six months. They arrived trentacinque at projects, of whose(which) twelve foreigners. The great material of archetypes and drawings was shown in the church of Holy Domenico between the scandal of the right-minded ones. In the church there was organised an exhibition, to whom the of Palermo ones noticed numerous. One proceeded(behaved) then to the appointment of an international commission esaminatrice, which turned out to be composed by German Goffredo's Semper's, by Florentine Mariano's Falcini's and by Francesco's Saverio's Cavallari's of Palermo. We remember for carved that the Semper, builder of the Hoftheater of Dresden, had planned a theatre of Wagner to Monaco for Luigi II, and realised the famous temple of Bayreuth. Winner turned out to be a G.B. Filippo Basile, to which 25.000 lire were assigned. The Semper declared « the competition has been able of great honour to the Italy and it gives brightened up testimony of the vehement incredible one to blossom again of the Art ». Congratulations joined the architect of Palermo from each side of Italy. Datum that the sum allocated by the municipality had appeared to the examiners insufficiently, they had raised the foreseen expense of a million. But the Municipality was hard and having fallen then one of the requirements of the competition - an estimate of re-entering expense within the foreseen limit - was arrived to the cancellation of the competition. In five following years the polemics and the diatribe continued. base her that it reproposed a more economic project limited to the essential necessary services to make that the shows were taking place. In the October of 1874, the communal Advice was approving the project, naming Base Her the same director of the works. On January 12 1875, to the presence of the mayor Emanuele Notarbartolo, the first stone was put into the today's square Green. A commemorative medal and a lapide came broadsides to memory of that historical day. The works were then finally started. One made us a sudden account of the inopportuneness of building exclusively the central piece of the theatre, sicché other funds were put in budget in way to lead to term a complete building in his parts. But the things did not proceed(behave) without obstacles. In 1881 thanks to a zealous engineer of the technical communal Office, who found an excessive expense in the covering and in the construction of the hall and of the scene, the works were hung(suspended) and revoked to Base Her the task. One was said about entrusting the works to another architect and here there was the one who proposed Alexander Antonelli, author of the Dimension Antonelliana, then ultraeighty-year-old. After nine years it was retaken when the statu quo shutters was confirming. To years of boring bureaucratic slownesses you follow a useless one and I improvise blow of accelerator: one wanted to inaugurate the new theatre during the Exhibition of ' 91 that would have gathered to Palermo a great number of visitors. I tyre and made bitter on January 16 in the same year it was dying Base Them. Only four days later, there was appointed a director of the works the son Ernesto, who waited for six years to the completion of the paternal work for things a long time pursued. How in ' does 91, preput himself in order that the theatre was opened in the Spring of ' 97, when the works were still not completed quite (the electric system, for example). On May 16 1897 there were opening finally the leafs of the desired theatre. Let's remember what the choice of the place, where the new theatre makes rise, goes up again in 1862, even if already with great farsightedness the viceré Caracciolo had championed the construction « outside Maqueda carries » that is outside the civic walls, towards North, the director towards whom the new city would have developed. Two monasteries were demolished with relative churches. A no t particularly heavy loss unless for the church of Holy Juliano, work of the celebrated architect Paolo Amato of the Seven hundred of Palermo. In the motions in �66, the monache of the monastery of the Stimmate had lent(given) help the rebellious ones: the demolition was then widely justified in a not particularly favourable historical moment to the religious communities. And � in those years the so called subversive legislation, which it was tightening to the expropriation of the ecclesiastic properties, to the reduction and sometimes to the abolition of the privileges and immunities, which(whom), up to that moment, the clergy had enjoyed. The architectural work at this point cannot call itself ended and also in the following years one did not arrive at his completion. And to notice the fact that in the original project the theatre had been been going to absolve to a multiplicity of functions: to hold the season of works and concerts, but also parties of carnival and the circle of the noble ones. Already in 1887 it was thrown, in a document of the College of the engineers and architects of Palermo, of the theatre make the most modern idea become a multiskilful structure. Next to the usual musical activity, they would must find put libraries and other cultural services. In the hall then works and holidays with dance, in all the low bodies arranged around, the accesses, the circle of the noble ones, the hall for concerts, the coffee, the foyer. In the tower of stage they were finding put all the necessary spaces to the unwinding of the activities tied to the preparation: salt tries, dressing rooms, laboratories, tailor's workshops etc.... The project of Base Her father, it was foreseeing a device never carried out with which(whom) the floor of the hall, tilted for four degrees towards the stage, was made horizontal. Another device, also he never realised, would have been prepared to raise the plan of the orchestra during the public dances. The environments destined(set) to hold the circle of the noble ones, were occupied by a fencing school. In the years ' 30 the premises were readapted to receive the offices of the theatre. As soon as ten years were passed by the magic evening falstaffiana, that rose the necessity of retaking the works and particularly in the space booked for the orchestra. Base her that it had foreseen his placing in the scenic arch, but his solution was never carried out. In 1897 the teachers of orchestra had sounded(played) on a predellone from wood put on the same level of the spectators hangings with twelve colonnine of walnut with this. In 1908 the ditch was constituted or strale, widened in 1925 towards the footlights, being, the old cabin of the prompter, fifteen slower years, to a new shortening of the footlights for one it achieves further widening of the ditch. In 1970 the teacher. Unruh drafted a project of reorganisation of the theatre, which was foreseeing the mobile plans of the stage and of the orchestral ditch. On May 23 1973 l�Amministrazione Communal he(she) asked for the availability of the theatre up to November 30 1974 to make the works. The fitness was allowed by a short period (January - February �74) by one serious of concerts on condition that they were not pawning the stage and the attached services. On January 29 1974 the "Nabucco" was carried out in shape of oratory: there were the last signs to resound in the magniloquente building. At that date to tutt' ' today the theatre has remained dumb. The building would must be handed back on November 30 1974. This did not happen not only for the difficulty and the slowness while finding the fountains of financing, but also because the realised works had « solved only in part the heavy preexistent situation ». Wants that sink their roots in the past: it is thought that, in the second postwar period, to the Maximum they were still missing the exits of certainty for the public and the ropes of scene are manoeuvred manually. The internal situation of the Company besides was not favouring a swift solution of a so complex problem. The of a commissioner management, which followed to the resignations of De Simone (1972), must face more immediate problems and of the smaller breath the majority(more) than to occupy and to promote projects a long time term which(who) were turning out to be necessary for the famous restorations. Three years were needed to the communal Advice to solve the problem of the appointment of the new sergeant. In the July ' 77 Ubaldo Mirabelli was assuming the task and with the re-acquired administrative stability it was returning pressing the problem of the works. After the carrying out of works, stralciate the project Unruh, it was given that I give responsibility to the University of preparing a project of feasibility and an executive for the works of immediate intervention, both presented in 1980 and then unified in 81. The consciousness had risen in fact that the reopening was not possible with operations of pure plugging of the heavy problems. First of all that(that one) of the mystic gulf. The continuous remaking, above(up) illustrated, testifies a vice of origin things like the impossibility of restoring the original solution Base Them, she herself never realised. To any this solvable by means of mobile plans, the demand was added of way restore the environments never completed to provide the company with all that spaces that the life of a theatre involves in special the halls it tries for singers soloists, instrumentalists, coristi and dancers. In 81 there are delivered the works relative to the supply and to the placing of the electric pulling of scene, while one year after the Regional Advice of the Cultural and Environmental Properties accepts the insertion of the mobile plans for the orchestra, but not the removal of six pipes from cast iron, covered with cement, with the stage in all that considered « inherent the original architecture ». It is needed then to modify the project presented then to the Case of the Midday and subdivided in two it fights, him(her) 8/P regarding the building works of building reorganisation and 9/P relatively to the stage in his complex. Nevertheless between delays, modifications and suspensions, him(her) 8/P goes ahead and the foreseen works come, even if not completely, finished in 86. 9/P, relative particularly to the mobile plans and the exits of certainty, it ha s ended up by feeling the effect of the suppression of the Case and then he turns out to be not carried out. Further problems remain the predisposition of the artistic restorations in the theatre, the restoration of the premises at present occupied by the Association of the Print and of the Order of the journalists, the acquisition of the ex-Maximum ex-cinema to locate you the offices of the theatre, which will must clear out to allow the opening of the prescribed exits of certainty. Entering then for Door Maqueda you will be struck by another huge building: It is the new Maximum Theatre, it anchors under construction. Imagine that the municipality ha s spent you till now five millions... To me poor layman, how work of art does not like; on the one hand he(she) reminds of you the stomach of Agrippa's Panteon; more in there it finds the inconclusive lines of a bourgeois building; architectural harmony does not exist in this mixture ». This passage of Enrico Onofrio testifies the animosity of the polemic that accompanied the Maximum in his(yours) to become. She was still really the monumentalità to constitute the winning factor and to determine then the success of his creator. Of course, a monumentalità, since it results already from the words as soon as you cite, it hybridizes a little bit in which(whom) there are mixed the neoclassic composure, the motive of the Greek portico united with that(that one) of the Roman round one, the romantic classicism of the Schinkel that in the Schauspielhaus of Berlin had appended to you on the front a pronao esastilo. All of it visited again in a print that at least in the intentions it wanted to be national.
and I wanted to impress a political meaning to my project with to use for the decoration of the building of the elements of that highly Italic school ». They testify it the use of the tuffaceous local stone, which retakes it Marvuglia, as well as the capitals in corinzio-Italic style, of Base fruit of the studies Her on the Greek Sicily and above all on Vesta's temple to Tivoli. Not only, but all Sicilian artists were the painters (De Mary, Corteggiani, Padovano, Di Giovanni, Enea) who decorated the hall and the reduced ones, in which the motives floreali and the putti symbolise and represent the cyclicity of the life. The curtain painted by Sciuti, represents Ruggero's Procession at the Reggia's towards the Cathedral for his incoronazione. Rutelli and Civiletti sculptured two lions of the view, while Geraci and Skilful they carried the decorations of the Hall out. To the outside, to the monumental blocks(blockades) - the pronao esastilo, the dome of the hall and the high tower of stage, covered by a roof to two strata - it seems to drive their dispositions of volumes towards the high one. The complex covers an area with 7.730 metres it balances, doing from Maximum Vittorio Emanuele, since it turns in his complete dizione, the third widest theatre of Europe, after the Work of Paris and the Hof-Opernhaus of Vienna, even if the hall was in ' the biggest 97 of Europe. Little in proportion the ric hly decorated scenic arch. The shape of the hall follows H traditional model that is that one to iron of horse with five orders of boxes and gallery, which today they can accomodate about 1300 spectators. And interesting to reflect upon a step of Base Them, from which(whom) it turns out to be that the width of the box was thought in relation to his occupants, that is imagining the full theatre and therefore leaving from the concrete datum what generally they sit on in front of three persons. Not only, but the measure must supply aesthetically a line and a whole the best possible one. The French architect Boulleé, having attended an opera representation, he(she) had told one century beforehand « about beautiful women arranged like a bas-relief ». The theatre is then a kind of container with his aesthetic value that is structured and lives in function of his content. As well as a presumed ghost the Maximum possesses an enigma. On the frontone it is possible to read: the Art renews the people and reveals the life it. Space of the scenes the delight in case he(she) does not look at preparing him(her) to happen. Who is the author of such inspired words they have never managed to be known. In a ridda of names, between which that(that one) of Perez and The Lumia, has jumped outside also over that of Gioberti, to which it would be to be attributed the paternity of the first phrase. Someone is, that does not result perfectly to coincide with the taste liberty of Base Her son, since it is possible to be noticed his words, that below we bring back(get). « Between the edifizi of our times the theatres are those who present character stronger of monumentalità and also of more decided artistic character. From the theatres in fact each idea of profit is excluded, each thought of practical usefulness proclaimed; they are erect to pure reason of public reconstruction; and if behind to the delight v�ha then the teaching and an instructive and moral, this purpose reveals itself secondarily... In contrast to each another building that draws his origin from a need more directly utilitarian ... the theatre is that it operates exclusively of luxury, whom the art must without doubt show off and to re-shine ». The "Falstaff" inaugurated the theatre on May 16 1897 - on the podium Leopoldo Mugnone and in the list protagonist Arturo Pessina. Also this long-awaited première had been threatened by the adverse fato: the prefectorial Commission had refused for the fitness of the theatres, the day beforehand, nothing is opposed. The obstacle « provoked the most intense joy in the clerical environments, which did not manage still to be reviewed to the idea of the demolition of two monasteries to do place to a theatre. In the Churches Iddio was thanked, there did not even lack(did not even make a mistake) the one who was attributing the event to the influence ... of the Monaca. Because it is necessary to know what, on the first times of Massimo, was calling itself that the ghost of a monaca, which had belonged to one of two destroyed monasteri es and which had had burial in the Church of the Monastery itself, donde his bones had been driven away by the demolition, it was fluttering on the great factory, vagasse for the bridges of the stage, was met by the passages, was walking on the cornices ». The publication of the Maximum Theatre treated by Tiby and by the Ciotti for the fiftieth anniversary of activity, let's have stralciato this passage to demonstrate how the ghosts are not a prerogative of northern castles, but that they are present also in the solar South! In the same season, a young way, then not much known, was interpreting Enzo from there as « The Joyful one » of Ponchielli: he was Enrico Caruso. Since it had already happened to the Theatre Bellini the artistic management was in hand to private enterprises. In the years between 1906 and 1919, 1923 and 1926, the years of the brilliance of the Palermo liberty, the Florio made knowing the works of Wagner and "Salome" of Strauss. Significant, besides the presence of a great musician and director of orchestra of Palermo, Gino Marinuzzi. In 1936 it changes the juridical structure of the Maximum Theatre, which yes transforms into Autonomous Company. The figure of the Sergeant is born then: the first one in assuming the task it was the Master Cardenio Botti. The military events, which caused the interruption of the activities ' 42 to ' 44, saved almost quite the building: a little bomb pierced the roof of the stage, firing to the plan land. The damages were still least. In 1940 Franco Alfano had assumed the direction of the Company. Next to the usual catalogue based substantially on headlines verdiani and veristi, there are inserted into the poster works of Sicilian composers (« Zolfara « of Mulé and « Persefone « of Iron). The Sergeant's armchair is occupied then by the Raccuglia. After the American management that had requisitioned the theatre in military period, the public returns with renewed heat to the reassuring walls of Massimo to listen to the dear works again. It is the years of the Caniglia, of Lilies, of Stable one and of Gino Bechi, who own purchases wide notoriety to Palermo. In the season 1946-47 to celebrate the first fifty years of life other one is prepared a program composed by two lyric seasons, one to the Theatre for the Maximum, where they had also place one serious of concerts. In symphonic those run between others Red, Capuana, Zecchi, were carried out all the symphonies of Beethoven, included(understood) the Ninth, which had never been carried out until then to Palermo. It was one particularly favourable year to the composer of Bonn: the quartet Lener was presented in six concerts by the integral one of his works for this formation. As well as three works of the inaugural season ("Falstaff", « The », Joyful one « The Bohemianism ») the mozartiane gave themselves « Weddings of Figaro », the verdiano « Nabucco « and the interesting « Love of three Kings » of Montemezzi. The list of Falstaff was entrusted to an of Palermo one, whose admirable interpretation had ended up by identifying it with the personage verdiano. « If the woman is mobile, Falstaff is... Stable » (Mariano) to say it playfully with Gualerzi. L ' « Love of three Kings » marks the beginning of an opening little by little grown towards the musical contemporary theatre, kind that Italian. They were organised in fact « Resurrection « of Alfano, « The monacella of the fountain » of the imerese Mulé, « Fedra « of Pizzetti, recent ly reproposed to Palermo, « The quatro rusteghi » of Wolf-Ferrari before Ruggero joined the « King » of Szymanowski in 1949, year in whom there was inaugurated to Palermo the 23rd International Festival of contemporary Music. In the same season there is recorded the presence of the then one young and making debut Giulini and prestigious that one of Hindemith. In that(that one) himself year first appearance of great Mary Callas in Brunhilde's list of the Walkiria; two slower years he(she) will sing in the garments of one of his most known personages: Rule. Of this that happened between ' 51 and ' 52 we will remember Gabriele Adorno of Myrtle It strikes(claims) in "Simon Boccanegra", the Preziosilla of Giulietta Simionato, the respighiana Lucrezia Borgia of the Star, the Otello of Vinay, Margherita of the Tebaldi in the boitiano « Mefistofele «, the pucciniana Cio-Cio-San of the Olivero and the flashing interpretations of two great directors, Klemperer and Scherchen. With the management Cuccia (1953-57) first absolute representation is pointed to the recovery of works of the past unjustly fallen on the oblivion (for example « The Capuleti and the Montecchi » of Bellini, in our century and « II Turk in Italy » of Rossini gone from Gavazzeni). Between the novelties of those years they are cited « II straw hat of Florence » of Rota and « Pantea « of Lizzi, with which the attention of the Theatre is confirmed to the fertile musical Sicilian humus. In ' 55 is inaugurated by "Parsifal" interpreted by Vinay and gone from Serafin, in those years and also subsequently very much I activate to Palermo. Particularly worthy of sign "Joanna D' Arco" of Honegger, whose direction was signed by Rossellini. As much specialist appears the presence on the podium of Paumgartner mozartiano, in the « Simple sham » and besides that one of Maderna and Celibidache in memorable concerts. In 1957, the appointment to Sergeant of Leopoldo De Simone and with this new space: the Theatre of Vegetables of Villa Castelnuovo inaugurated with the verdiano « Otello « protagonist Del Monaco. For every year of his management, a happy repechage of works has an operation like « II Pirate » of Bellini, who inaugurates the season of 1958; « Beatrice of Curtain » in ' 59 (with such a date it is reproposed to the attention of the world); in ' 68 l ' « Alceste » of Gluck, in ' the wonderful one « Dress 70 » interpreted at the Gericer's, And it anchors: 41 Governor of Logroscino », first representation after the century XVIII, and « Elisabetta, queen of England » gone from Gavazzeni. In 1960 Wozzeck fires the contemporary boom to Palermo, to which the Maximum contributed with « Pelléas et Mélisande » of Debussy and , » of Berg. Really in those years he was a holder of the desk of history of the music Luigi Rognoni, under whose(which) impulse they were born the « Weeks of New Music ». In six editions, 1960 to ' 68, were presented the New ones and the Newest of the today music. The concerts of some which(who) to the Maximum had such European resonance to put Palermo next to Damstadt. In 1963 Leibowitz presented to the public music of Ives and Varèse. In the traditional catalogue, De Simone carried a gust of wind of new air introducing into the consumption of the musical show careless Mozart (« Abduction with the Serraglio » in ' 59, « Magic Flute » in ' 61 run(managed,edited) and with the direction of Von Matacic, « Don Giovanni «, « Things, lighthouses all, in ' 67). Of great relief the « Passion according to Matteo », show thought up by the director Graf who realised the first scenic execution of the masterpiece bachiano in Europe. A great director, Scherchen, interpreted it with unforgettable stylistic cleaning and expressive strength. The choreographer Millos was to Palermo between ' 58 and ' 60. With Guttuso and the composer Museo realised a wonderful show coreografico: *i dances for Demetra ». In �60 and in ' 63 other two works of composers of Palermo: " Neither time nor place » of Savagnone and « II Devil in garden » of Mannino, evoking of the prerevolutionary Paris mirabilmente embellished by the Viscounts' refined direction, which co-operated besides on the drawing up of the booklet. In beforehand absolute, another Sicilian myth « the love of Galatea » (1964) with a prestigious librettista, the poet Quasimodo. Author of the music Lizzi. Useless to remember that these are the years from gold of the lyric one and between ' 58 and ' 65 unthread the most legendary uvulae of the moment. Between others the Star, the Simionato, Di Stefano, Of The Monaco, Hedges, Raimondi. We will cite particularly two soprano that they have been asserted own to Palermo: Joan Sutherland revealed in an unforgettable interpretation of the "Lucia"" and in the "Puritani" and Ilva Ligabue in a "Bohemianism" in whom the director Enriquez rebuilt and recalled the dishevelled Milan of purpose(end) century. On the podium there followed each other names like Serafin, Gui, Votto, Sanzogno, Molinari Pradelli and De Fabritiis. Between the foreigners, French Dervaux and the German von Matacie who in 1970 will present in original language(tongue) the first two days of the tetralogia of Wagner (« Gold of the Rhine » and « Walkiria «) completed the following year with « Sigfrido « and « Twilight of Of ». Another red thread is constituted by a prudent but constant insertion of Russian works. In ' 59 is the turn of « Ivan the terrible one » of Korsakov, in ' 63 the "Kovancina" of Mussorgskij, in ' 67 « II prince Igor » of Borodin and « The spouse sold » of Smetana, this last in the edition of the national theatre of Belgrade. There are besides the years of an intense participation of Massimo to the opera international life. To the Festival of Wiesbaden, in whom he(she) participated for three years in succession, magnificenti editions of Italian works made knowing to the German public « Turandoh and « Falstaff, (' 60), « The » and Puritani « The Bohemianism » (1961), « Otello « e « Don Pasquale. (1962). Consent of public and of criticism also to Paris, to Theátre des Champs-Elysées, where, during the Festival of the Italian Work, were introduced « Turandot «, « Otello « and « Don Pasquale «, this last one carried out in ' 63 also to Schwetzingen. The today music receives from the Maximum a constant interest. As well as the already cited works, l ' « Oedipus Rex » of Strawinski and « the enfant et les sortiléges » of Ravel (January 30 1958). In ' 62 "Meyerling" of Giuranna, two years later, « The Dialogues of the Carmelite ones » of Poulene. In ' 67 a significant "triptych": " Flight of night » of Dallapiccola, « Seven songs » of Malipiero and « Portrait of Don Chisciotte » of Petrassi. The season was inaugurated by the first absolute one: " II Gattopardo », work composed by Museum and by him run(managed,edited) (direction of Squarzina and scenes of Points), In The same season "lfigenia" of Pizzetti and « short vida » of De Falla. In the open, in the wonderful scenery of Villa Castelnuovo, Matacic was running « the incoronazione of Poppea » of Monteverdi. To the first lights of the dawn of the new year 1969, Angelo Museo broken off by an infarct dies; the Master Raccuglia will succeed to him in the artistic direction. The points from diamond of the season were « a Luisella « of Mannino and « The Cinderella » of Rossini, gone from Gui and in the title-role the Berganza. In 1971 first absolute other one: " The festival of the gentleman of the ship », it deals at the homonymous drama of Pirandello's and musicata at the Sicilian Lizzi. 1972 he(she) sees, over the resignations of De Simone, the participation of the Maximum Theatre in XXVI International Festival of Edimburgo. To the King' s Theatre an excellent company of singing (Raimondi, Parazzini, Bruson) proposes, in the Renaissance of the primoVerdi, « Attila «. Sanzogno runs « Foreign Ia » with her(it) I Am hot and « Elisabetta queen of England », again interpreted at the Gencer's. To Palermo significant choices had been « an II Rider of the Rose », whose(which) direction was entrusted to Rennert and the evening in March 28 ' 72, in whom, in occasion of the novant' years of Malipiero, three his works were carried out: " Filomena and the infatuated one »; « Merlino, Master of organs » e « One ten ». In the year later there are signalled « Laborintus second » of Berio, « the Histoire du soldat » of Strawinsky, « The Medium(Mass media) » e Menotti's "Sebastian" and another significant work straussiana, « Elektra «. In the period between ' 72, year of the resignations of the Sergeant De Simone and ' 78, during which the administrative vertices were reconstituted, the management was entrusted to extraordinary Commissaries of ministerial appointment. After the resignations of Lanza Tomasi, the artistic direction was entrusted (1975) to a committee composed by Gavazzeni, Arrigo's, Petrassi's and Holy. In the meantime, how already said, after the "Nabucco" in shape oratoriale (January 15 1974), the inagibilità of the Maximum was involving the transfer of the shows to the Theatre Garibalof and this state of things, since it is well-known, lasts up to today. In 1974 the artistic complexes of the Municipal Theatre of Holy Paulo (Brazil) were proposing to the attention « Guarany « of Gomes. The attention to the modern one and to the contemporary one is highlit in the "Prisoner" of Dallapiccola (1975), an interesting tribute coreografico to Strawinsky (« Pulcinella, « Apollon Musagète « e « Petroushka,), « Seven deadly sins » e « Czar do(become,make,be) photograph » of Weil. To signal two interesting proposals glukiane « Armida « e « Ifigenia in Tauride », run(managed,edited) a making debut Chailly. A bright meteora appears: Ballet du XXéme Siécle of Bejart. In 1977 a historical event: " The career of a libertino » of Strawinsky and completely French brilliant and amusing proposal (« The docteur Miracle » of Bizet combined with the offenbachiano « Monsieur Choufleuri «). With 1978 a new course begins: the artistic direction passes in the hands of Arrigo and sergeant is elected Ubaldo Mirabelli. And � an establishment that lasts to tutt' ' today. The aroused passion one of lyric one, is known, it is very often, conservative. The one who remembers with nostalgia the beautiful times that were, the evenings of gala, the great interpreters and above all Base the hall in his(yours) shining fulgore, it will not find unanimous with the line pursued in this last decade at the Company. A line that has revolutionised the traditional way of managing a theatre. In 87 there have been organised 1458 manifestations, of whom 659 outside Palermo. It strikes, first of all, the high total number: private citizen of his natural seat, The Theatre has multiplied the initiatives, putting itself as active subject in a capillary diffusion of the musical property. A little less than the half of the initiatives they are prepared in the western Sicily, carrying the music in centres cut outside by the normal circuits. In 84, the "Requiem" of Green ones is carried out; in 86, « Missa solemnis, and the "Ninth" of Beethoven (12 executions). Besides, choral(cordial) and chamber concerts with orchestral complexes of the Company and other well-known groups, like Ensemble Garbarino. An anthological show signed by Sieves, he(she) has made knowing and broadcast the smiling message of the operetta, interpreters' Recitals like the Licata, Gazzelloni, Di Stefano, Staffs, they have been organised by the schools and the civic institutions and not, in way to approach the youth to the musical language. There are not ignored the new horizons of the music of this century: numerous have been the seminaries held by Gaslini, and the concerts of jazz. Next to the traditional vehicle of diffusion constituted by the concert, there it have been devised others (shows of marionettes, comics and seminariconcerti of the Group strumentomusica of Scarano) it turns over again to the careless public of less. A mastodontica production, then who sees the artistic complexes co nstantly engaged - is remembered by us that the Maximum Theatre is the second occupational fountain, after the Shipyards, more important than the city. The one who was going to theatre for feeling Fugola of gold of the moment, would remain disappointed. The numerous turns of subscription (from 8 to 14) make the permanence improbable for a singer to Palermo for about 30-40 days. Here then, with spirit of completely southern adaptation, to make for new voices and young directors. Fruitore of the star - system, The Maximum has changed in a true and own talent scout, in line with a tradition, already pursued some time ago. Let's have said about Wage labourer in the inaugural season, there remains at citharas the throwing of Kraus, which substituted per second act of a memorable "Rigoletto" the way Filippeschì. Under the protective wing of the Maximum, they have found « admission « and the possibility of singers make themselves known today in career like Nucci, the Greenhouse, It diverts it and Martinucci. The programming of the season has intended to propose innovative directors, sometimes already in light in the past. « Otello » e « Tancredì « of Rossini, « The clemency of Tito » (1981) and "ldomeneo" (1983) of Mozart, « AIcina « of Haendel, this last one represented in the European Year of the Music (1985) with the direction of Basins, have been some examples of the happy repechage of works of the catalogue unjustly forgotten. Gust of wind of new air, then, that expresses himself also in the punctual attention booked for the modern one and for the contemporary one. It is started in ' 77 with « The career of a libertino » of Stravinskij to go on with « The breasts of Tiresia » of Poulene (' 78); « II circle of vine(lives) » (' 79) and « the work of the begged one » (' 80) of Britten; « Orfeo and Persefone » (' 81) of Stravinskij, up to the fantasmagorico « Jonny spielt auf » of Krenek of the last year. Two constant lines have been ìnoltre the proposal of Russian works and of the Italian generation of 80. There are then wonderful editions de « the angel of fire » (' 78) of Prokofiev, « The Lady of picche » of Ciaikovsky (' 84) and « War and Peace » of Prokofiev (' 86). The "Fedra" of Pizzetti of this year puts itself in the furrow already traced out by other preparations, which(who) that de « The fable of the son changed » of Malipiero, « The woman snake, of Compartment and semirama » of Respighi. During the summer, there open the gates of the wonderful villa Castelnuovo where, as well as enjoying the delightful coolness and admiring the curatissimo garden, it is possible to attend representations of operettas (« The cheerful », widow « The country of the bells » and « Cin-ci-là «, to cite only some of the most frequent headlines), shows dì as well as prestigious songs coreografie. Besides, l�interessantissima proposal of the comic opera, by now strong of a quadrennial experience. The amusing cases(chances) of the joyful work have found their space in the picturesque frame of the Beam of Scopello and, the past year, also in the castle of holy Nicola to Trabia. Between them(her) it operate represented we will remember « Lesbina and Adolfo » (1986) unpublished of Alexander Scarlatti. Tradition and novelty become interwoven in the fervour of activity and of initiatives of the Autonomous Company Maximum Theatre. But, to be such in the sense most complete of the words, it misses really he, the theatre. There looks of good auspice the assignation of the last contract for the beginning of the works aside of the Agency for the Midday. The works should begin in the near months and to conclude in the circle of one year and a half. A hope, a wait in order that the sparkling hall returns to be filled(stuff itself) and to resound.