Historical theatres of the Marche Region

Description

Located in the heart of central Italy, the Marches are, par excellence, "a region in the plural". The origins of this multiplicity derive from the geomorphological diversity of the many parallel valleys and also in the intricate and fragmentary history, which was documented - according to many historians - by the long domination of the State of the Church and the later entry into the Kingdom of Italy. The regional "plurality", which is also witnessed by the widespread anthropization of the territory, has deeply shaped the land; here important artists of Italian art were born; furthermore, there was the spread of remarkable schools of art, and artistic currents and cultural trends connected to folklore, music and theatre.

In this context, starting from the second half of the seventeenth and throughout the nineteenth century the theatrical show as we know today - with elaborate “stage machines” and stable “touring” theatre companies - found a favourable context for the development in the Marches. Indeed, the consolidation of the local economy led to a strong social and cultural shaping of urban centres, allowing thus the stabilization of the scenic space, no longer an ephemeral event, but a stable structure, built in masonry.

The theatre, both in the form of an independent building and as a space hosted in the municipal building, became the paradigm of an era, the symbol of a society's cultural self-identification, in addition to being an important investment for the local economy, during the time of the Marca Region of the State of the Church.

The "Historical Theatres of the Marche" therefore represent a whole system, because of their number and diffusion in relation to a limited territorial context, and their architectural canons matching perfectly with the historic centres, of which they often cover a leading role.

The historical theatres are the result of a cultural tradition that has handed down over the centuries; they still maintain the fundamental constructive, decorative and use features, through conservation and maintenance interventions have been made for regulatory adjustments and for the earthquakes that hit the Marche Region. The theatres bear a remarkable testimony to a precise historical and social context, including universal values; they witness an exceptional artistic and musical culture and a self-representative expression of a community, which looked and look at the theatres not only as a form of entertainment but also as laboratories for activities, meetings and relationships, promoting and enhancing cultural, social and civil interests.

Description of the property 

The first architectural elements of this new cultural reality came out in the form of the typical Marche’s "condominium": the Condominium Companies, spread almost everywhere in the region between the II and the IV decade of the XVIII century, aimed at financing and building the theatres, quoting in relation to the number of boxes purchased for oneself and for one's family. Later there was the choice of creating the "hall of comedie ", supported by the Municipalities, usually set up inside the City Hall; it allowed the widening of the "social base "of the spectators, thanks also to the contributions granted to the municipalities by the Papal State for interventions to be carried out by the so-called" chamber architects ".

At the beginning of the nineteenth century every municipality - even those with a small demographic consistency – started to play a leading role in the community. They underwent major urban renewal interventions, theatres were built and became central in the new configuration of the town, where religious and civil building used to play a key role in the past. In the boxes and in the gallery the citizens used to sit - despite the distinction between social classes, between rich and poor - to make a show of themselves, their wealth, with a spirit of emulation towards the quality of life typical of extra-regional town. Even today the historic centres of Marche’s towns retain the typical urban layout of the Middle Ages and the Neoclassical Era; the theatres, both inside and outside, maintain a central role in the configuration of the city, in particular in the context of the small villages of inland areas.

Even in the Marche the theatres underwent many architectural changes (not always chronological); the theatre of the Renaissance later changed into the so called “Teatro all’italiana”, embodying the stylistic innovations and construction techniques of the time. Numerous attempts and different tries were made, both in plan and in elevation, to mediate the technical needs of the show (visibility, acoustics, scenic effects, etc.), with the social and representative ones, both of the public and of the clients; the dimensional requirements of the pre-existing buildings where, at times, the halls were obtained, were taken into consideration.

The simplest solutions are those with a rectangular hall - derived from the Renaissance courtyards where court performances were held. Indeed the rectangular shaped theatres represented the only possibility to adapt small spaces or areas former used for different destination   ( often located in municipal buildings or manor houses): this is the case of the "Pedrotti" Auditorium, with a rectangular hall,  balcony and stage, embodied in Pesaro’s eighteenth-century Palazzo Olivieri, renowned for its exceptional acoustics and  500 seats; another example is the small theatre inside Sassocorvaro’s  Rocca Ubaldinesca, covering the space that was the former main hall of the fortress, on the upper floor, a rectangular room, with a large box and a balcony able to accommodate 100 spectators.

When the side boxes status symbol of wealth and social level, gradually replaced the seats in the stalls, there was the need to widen the proscenium, aimed at improving visibility from the boxes. The typologies with U-shaped and bell-shaped plans, chronologically contemporary, were later tested: an example of a hall with a bell-shaped plan, three tiers of boxes and a gallery is the splendid 18th-century Lauro Rossi Theater, built on a design by Antonio Galli known as Bibiena , overlooking Piazza della Libertà, the heart of the historic center of Macerata;  instead Ripatransone’s "Luigi Mercantini" Theater, designed in 1790 by Pietro Maggi and located inside the Palazzo degli Anziani, boasts a U-shaped plan, with three tiers of boxes.

The mature form of the "Italian-style" theatre, the horse-shoe theatre, closes the evolution of the vertical development of the boxes divided in height by orders, replacing all the tiers of the or the simple audience; this conformation partially reduces the width of the proscenium with respect to the U-shape, but still guarantees good visibility of the plays; moreover, a greater depth of the scene (especially in the backstage) will allow the use of innovative perspective wings and complex stage machines, with the possibility, for the actor, to act inside and not in front of the stage (as it was common at the time of the Renaissance Theatre), also moving in depth. We can mention different Marche’s theatres of this type:  the Municipal Theatre in the heart of Porto San Giorgio, with a horseshoe-shaped hall and three tiers of boxes, dating back to 1811-17, built by the architect Luccatelli; the Municipal Theatre in Cagli, from 1870-78, with a horseshoe-shaped hall, three tiers of boxes and a large balcony with full well-preserved scenography and late nineteenth century eclectic decorations.

The ovoid, elliptical or similar plans were typical during Neoclassical time and often used to create private or modest-sized theatres or to adapt previous buildings. We can mention some of Marche’s most remarkable theatres in terms of value and greater capacity (826 seats):  Teatro dell'Aquila in Fermo, with an oval hall and five tiers of boxes, built between 1780 and 1791 by the architect Morelli and later revisited by arch. Lucateli and Ghinelli; the decorations are rich and the original set design has been restored. On the other hand, Teatro Benianino Gigli in Monteroberto, dating back to 1816, is small in size, with a truncated ellipse hall on the proscenium side, gallery and balcony supported by columns: an open structure, decorated with festoons and imperial eagles.

We must also mention some of the many artists and architect who designed Marche’s theatres, such as the chamber architect Cosimo Morelli, from Imola, a talented theatre designer, who projected the theatres in Osimo, Macerata and Fermo; in Jesi he developed the former project by Francesco Maria Ciaffaroni. In 1769 Morelli also worked on the project for the Macerata Condominium Theatre (today’s Lauro Rossi Theatre), adapting what Antonio Bibbiena had started for another site, maintaining though its style as it can still be seen today after the restoration by Ghinelli (1836).

In addition to the above-mentioned examples, we cannot forget other exemplary theatrical works which involved numerous municipalities between the 18th and 19th centuries, and important architects and designers that were hired from all over Italy and abroad. Pietro Maggi was for example an artist from Ticino area, who designed Ripatransone’s theatre in 1790; Giuseppe Piermarini, a pupil of Vanvitelli, was the acclaimed designer of the Teatro alla Scala in Milan (1778), on whose project the Condominiale Theatre of Matelica was built; Vincenzo Ghinelli from Forlì designed the monumental pro-Egyptian Teatro Sanzio in Urbino. There were also many active local architects working in the Marche region, such as Giuseppe Lucatelli from Mogliano, whom the design of Porto S. Giorgio’s theatre is attributed. He also designed the Teatro dell'Aquila in Fermo in 1780-1791 and shortly after (1788-1795) the other Teatro dell'Aquila, based in Tolentino (today’s Vaccai Theatre), with large decorated pilasters dividing the three tiers of boxes and a gallery with lunettes. Carlo Crusca is another Marche’s native architect, who projected the theatre in Treia (1798); Pietro Ghinelli from Senigallia erected (1813-1818) the Teatro Nuovo in Pesaro (today’s Rossini Theatre), and shortly after the Teatro delle Muse in Ancona (1822-1827), one of early nineteenth century’s major theatres. Ireneo Aleandri from San Severino Marche (1795-1885), after the project of Macerata’s Sferisterio, renotaved the splendid Teatro Feronia in San Severino Marche in 1828, with scenes by Filippo Bibbiena, three orders and the gallery, above which he reproposed Bibbiena’s crown of "nails" in the ceiling vault. In 1846 he worked on the project for the second Ascoli Piceno’s Ventidio Basso Theatre, rebuilt on the former foundations with a neoclassical façade in travertine.

Alongside the large theatres, the Marche region boasts widespread theatres in small towns. We may quote as an example the Alaleona Theatre In Montegiorgio, opened in 1770 with three orders of thirteen seats, renovated in 1884 by the engineer Giuseppe Sabatini, with the addition of the balustrade gallery and of "Athenian" caryatids; another remarkable eighteenth-century theatre is that one in Sassocorvaro, a very nice theatre, obtained with reduced dimensions in the hall of honour of the local fortress. Thanks to these gems in inland areas, the current Three-Year Culture Plan of the Marche Region has provided different activities, such as the enhancement of the Villages, or the “Community Theatres” Project, aimed at enlivening the many small theatres that embellish as many villages under 5,000 inhabitants.

In historic theatres, in addition to the planimetrical and structural characteristics that directly affect the visibility and the acoustics, the decorations deeply mark the change of art styles: the baroque richness of the oldest works is replaced by Illuminist purism, leading later to the French taste of the Empire and new eclecticism. The boxes, the galleries, the vaults, even the curtain stage and the scenographies feature skilled works, both in form of painting or inlay work, made by the most skilled native Marche’s artists, further artists such as Venanzi, T. Azzolini, G. Corsini and well now artists from abroad.

The 113 historical theatres, already mentioned in a survey of 1868, document the importance of these spaces and the longstanding tradition of entertainment, that has deeply influenced the Marche region. Take for example the great personalities in the field of music and entertainment, such as Giovan Battista Pergolesi, Gaspare Spontini (the 250th anniversary celebrations are starting), Gioacchino Rossini or also cultural events of high levels (the "Rossini Opera Festival", the "Pergolesi Spontini Festival", the "Macerata Opera Festival", etc.) closely linked to the world of the theatre. Do not forget the numerous academies of music and conservatories.

The world of theatre and music is deeply rooted in the Marche region: actually, there’s an uninterrupted tradition that has been handed down from medieval antiphonaries and testified by rich archives and bibliographic heritage of the sector:

- 159 libraries and archives, between public and private, which house musical material, and owned by municipalities, ecclesiastical bodies and keen collectors;

- 74 places (including 55 municipalities) that preserve musical heritage;

- 31,000 musical manuscripts;

- 46,000 musical prints;

- 2,368 names of musicians, singers, manufacturers of musical instruments, librettists, poets, writers, theatre authors, musicologists, critics, theorists, etc. (which emerge from the nineteenth-century Dictionary of Radiciotti's Marche musicians).

The economic crisis of the 80s of the nineteenth century will also affect the construction industry, partially curbing both the urban renovation of the historical centres in the inland, and the development of entertainment. This type of investment was considered unproductive, marking a halt to the evolution of theatrical architecture. At the beginning of the following century, the transformations along the coast, connected with the rise of seaside and coastal tourism and the growth of business in the new economy, provided a new stimulus for the restart of entertainment. The activity of the theatre companies were organized along the coast; the coastal resorts were thus encouraged to equip themselves with new areas for performances. The classic typological scheme of the theatre, though obsolete, was reintroduced.

Towards the end of the last century a renewed interest led the Marche Regional Government, together with the municipalities, to rediscover and enhance the heritage of historical theatres, especially in inland centres, by proposing studies, making research and gaining economic resources from community, state and municipal funds. At the dawn of the new millennium, there was the relaunch of the most articulated theatrical system of the whole country; almost all historic theatres were involved, indeed each municipality wished to have a theatre.

Even today, the maintenance and restoration of the dozens of theatres are constantly evolving and do not slow down even after the seismic events that have occurred in recent years.

Distribution on a provincial basis:

Province of Pesaro-Urbino

Thirteen theatres, with a total capacity of approximately 5,000 seats. Among the theatres in use there are the two largest historic halls in the Marche: the Rossini Theatre in Pesaro, built between 1816 and 1818, with a horseshoe-shaped hall, four tiers of boxes and a large gallery, with 826 seats, featuring a  large stage of 353 square meters and excellent acoustics; the Teatro della Fortuna, in Fano, built from 1845 to 1863 , with 900 seats, an imposing horseshoe-shaped hall, three tiers of boxes and a large gallery, whose internal beehive distribution is among the most elegant in the region, and with one of the most significant historical curtain stage made by Luigi Paletti from Modena in the second half of the 19th century. In this province there is also one of the smallest historic regional performance halls, the above-mentioned Teatrino della Rocca in Sassocorvaro.

Province of Ancona

Fourteen theatres, with a total capacity of approximately 4,000 seats. The imposing neoclassical façade (1822-1827) of the Teatro delle Muse in Ancona maintains the fundamental role of urban hinge of the original building, while the interior features a modern multipurpose : there’s a hall with over a thousand seats, a stage of almost 400 square meters, a fire curtain unique in Europe, signed by the sculptor Valeriano Trubbiani, a hall with 186 seats, ultra-modern spaces at the service of artists and audience. The Giovanni Battista Pergolesi Theatre in Jesi is an excellent example of a nineteenth-century civic theatre, with an elliptical hall, with three tiers of boxes and a gallery, built between 1790 and 1798; the design of the theatre is by the architect Ciaffaroni and was later developed the pontifical architect Cosimo Morelli: the building imposes itself on the urban scene with a long main facade that acts as a backdrop to the square in front; on the upper ceiling of the hall you can appreciate the earliest neoclassical decorations by Felice Giani from Faenza, who breaks the trend of  Baroque and Rococo decorations inside theatres. At the end of the nineteenth century, many theatrical companies settled and worked along the coast ; therefore there was the spread of new theatres also in localities such as Sirolo or Montemarciano, which have later become tourist attractions.

Province of Macerata

 The province has the highest number of historical theatres: twenty-two, with a total capacity of approximately 6,000 seats. Mostly of the classic horseshoe-shaped theatres were designed by famous architects of scenic spaces. Giuseppe Piermarini, who designed the Teatro alla Scala in Milan, projected the typically classical Teatro Comunale in Matelica. The illustrious painter Giuseppe Lucatelli experimented his skills as an architect in the Vaccai Theater in Tolentino. The famous Ireneo Aleandri designs the Feronia Theatre in San Severino Marche, where bibianesque scratches are re-proposed in a neoclassical key: this theatre still retains the decorations by Raffaele Fogliardi and the curtain stage made on a sketch by Filippo Bigioli.  Lauro Rossi Theatre in Macerata stands out for its singularity, as it is the only surviving example of late Baroque style. In this province there is the smallest town in the region to accommodate a theatre, Penna San Giovanni, boasting a real gem, the eighteenth-century Teatro Flora, included in the ancient Palazzo dei Priori, with a U-shaped plan, two tiers of boxes, which have preserved the original Baroque decoration by native Antonio Liozzi. Another particular theatre is Teatro della Rondinella, based in Montefano, built in 1887 in cast iron.

Provincia of Fermo

Nine theatres, with a total capacity of approximately 3,000 seats. The splendid theatre of L'Aquila in Fermo, with its 826 seats (originally 900, then reduced by current regulations) stands out from the theatres of Fermo province.  Compared to the other provinces, Fermo province features a remarkable percentage of theatres built in the first decades of the nineteenth century, witnessing a tradition that has continued with linearity. Some of the architects who designed the theatres are well known: the international Giuseppe Sabbatini, who created the cavea divided by the caryatids in Teatro Domenico Alaleona based in Montegiorgio; he was also the designer of pretty Teatro dell'Iride in Petritoli; the Ticino-born Pietro Maggi brilliantly projected the Teatro del Leone based in Santa Vittoria in Matenano inside the ancient municipal palace.

Province of Ascoli Piceno

 Four theatres, with a total capacity of about 2,000 seats. It is the only province that has two historical theatres in a town: the Ventidio Basso Theater and the Teatro dei Filarmonici in Ascoli Piceno. The first one was designed by the architect Aleandri between 1839 and 1846 in an oval hall, with four tiers of boxes and a gallery and 842 seats; it is the largest historical theatre in the province of Ascoli Piceno and the third in the whole region; the neoclassical façade, in travertine, is really beautiful. Teatro dei Filarmonici is a horseshoe-shaped theatre, with a gallery at the stalls level, two tiers of boxes and a gallery, built between 1829 and 1831, on a project by Ignazio Cantalamessa, and completely renovated by Giovanni Serpentini in 1897. In this province the theatres mainly date back to the first decades of the nineteenth century, and are designed by well-known architects, such as the above mentioned Ireneo Aleandri, or the Ticino-born Pietro Maggi, who was good at creating stunning theatres inside ancient municipal palaces, such as in Offida (Teatro del Serpente Aureo) and in the thirteenth-century Palazzo del Podestà based in Ripatransone (Luigi Mercantini Theatre).

Justification of Outstanding Universal Value

The "Historical Theatres of the Marche" constitute a unitary system, that is an exceptional testimony to an extraordinary and unequalled phenomenon for:

a) their number and uniformity of diffusion in relation to a limited territorial context;
b) architectural features and canons of single theatres, documenting the evolution of the particular architectural typology between the eighteenth and nineteenth centuries;
c) the synergy that can establish with the historical centres, where they often are the hard core;
d) the close identity relationship that binds them to local communities.

The theatres are the result of a cultural tradition that has been handed down over the centuries; they have maintained and still retain the fundamental building, decorative and use peculiarities, though restoration and maintenance connected to the necessary regulatory adjustments and to sometimes devastating seismic events. 

Despite being testimony, as a whole, of a precise historical and social context, the historical theatres of the Marche embody other universal values: indeed, they show how the theatre can be a perfect self-representative expression of a community and can keep this central role over the time; it is a place non only for entertainment but, more generally, for activities, meetings and relationships between people that can promote other cultural, social activities and arouse civil interests. In this sense, the value of the cultural tradition, linked to the performing arts and music, transcends regional and national borders and stands out as an important common heritage for present and future generations.

Criterion (iii): The Historical Theatres, as a whole, witness a cultural tradition that is still deeply rooted in the Marches. This tradition, that can be traced back to a long time ago, experienced a moment of particular splendour between the second half of the 18th century and in the middle of the following century. Evolved from the dramatizations of the liturgical ceremony carried out by the Church on the churchyards, it flourished during Renaissance as a form of secular entertainment at the noble courts (Urbino, Fossombrone, etc). A brilliant period for the theatre was the beginning of the 18th century, when the stage space was built in masonry and the first stable structures were erected. Furthermore the theatre became a symbol of tradition, innovations of architecture, technology, arts, as well as urban planning; it covered a central role in the configuration of the city. We must also stress how strong was the relationship between the theatres and the historical  centres, creating a sort of urban harmony.

Criterion (iv): The theatres of the Marche, due to their extraordinary diffusion and distribution, represent, as a whole, a masterpiece of architectural value, documenting the evolution - between the eighteenth and twentieth centuries - of the specific building typology as well as of the innovations of related artistic languages and construction and plant technologies necessary for their working. Although these theatres often refer to small urban centres and are related to a territory historically isolated from the most innovative currents in history, there were remarkable architects and decorators who contributed to make a change in the evolution of the theatre; they actually designed the theatres, followed the execution of the projects, with particular care to decorative elements and scenography too. 

Criterion (vi):The long history and tradition connected with the construction of the theatres and  their management are intertwined with personalities, art events and works that still today are meaningful non only locally but at international level.  Take for example “Calandria”, the innovative representation by Baldassare Castiglioni, with sets by Girolamo Genga, held at the Urbino court of the Montefeltro, in 1513-14, an innovative example, a model for the development of western theatre. The Galli da Bibbiena family, very active in the Baroque time, allowed the construction of different theatres, that have unfortunately disappeared or heavily remodelled. Worth mentioning is a large number of architects, such as Giuseppe Piermarini, Vincenzo Ghinelli and Ireneo Aleandri. Among the most talented personalities, we must quote Giovan Battista Pergolesi, Gaspare Spontini, Gioacchino Rossini, famous and popular worldwide.

Statements of authenticity and/or integrity

Authenticity

The historic theatres fully meet the requirements of authenticity, through a wide range of elements, such as form, materials, use and function, construction and management traditions and techniques, as well as their location and context. Indeed, the theatres, still used for theatre and music performance, retain the fundamental constructive and decorative peculiarities, though conservation intervention and maintenance have been made for regulatory adjustments and as consequence of earthquakes. Furthermore, the theatres still cover a central role in historic towns and villages, together with the Town Hall and places of worship.

The authenticity of the historical theatres is also attested by a large number of written and figurative sources, allowing us to learn about their history and development, as well as their use. The historical documentation is guaranteed by archival sources, which mainly include the historical archives of local administrations and ecclesiastical ones, alongside the archival administration set up by the Government (Archival Superintendence of Umbria and Marche region).

In addition to above sources, we must quote the rich digitized documentation of the land registers, surveys and projects developed and preserved as a result of post-earthquake interventions, as well as the rich bibliographic of specific sectors, connected with the world of music and entertainment. The theatres themselves retain figurative documentary sources in the representations that can be seen in wall decorations, in the historical sets and in the backdrops of the proscenium.

The quoted sources guarantee a high level of credibility and truthfulness and allow to elaborate the specific artistic, historical, social and scientific aspect of the cultural heritage.

Integrity

The proposed site includes all the elements necessary to express its Outstanding Universal Value. Indeed all the existing "historical theatres" have been included, as it is the whole that ensures the complete representation of this almost unique phenomenon, both for the number of theatres and for the uniformity of their diffusion and distribution in relation to a circumscribed context. The ownership of historic theatres belongs to the municipalities where the buildings are located, with rare exceptions (as in the case, for example, of the Pedrotti Auditorium in Pesaro, owned by the "G. Rossini Foundation"). Therefore, both the management and maintenance of the buildings - from the masonry works, to the systems, to the scenic and decorative equipment – are up to public bodies that can rely on State, Regional and Community funds, in addition to their own funds; the access to these funds is a further guarantee of correctness of the interventions carried out by law.

The cultural tradition of historical theatres is strengthened by constant careful maintenance, high standard of efficiency and integrity, and by their high "rate of use" (days / year of overall activity, not only for entertainment, but also for cultural, social, civil activities).

The conservation of the state of good use and the enhancement of individual architectural assets are ensured by specific regulations and by mainly public bodies, such as the local offices of Ministry of Culture, the Marche Region, Municipalities holding the assets.

The care and organization of theatrical seasons, events, activities of different type - often with a high cultural and international appeal – are up to different public and private bodies, such as the Municipalities themselves and the numerous Associations, Foundations, Societies and Companies directly linked to many theatres (AMAT, Consorzio Marche Spettacolo, “Rossini Opera Festival”, Pergolesi Spontini Foundation, “Macerata Opera Festival”, amateur clubs, etc.). All theatres are subject to the national protection law (Legislative Decree 42/2004), therefore any conservation, maintenance, adaptation of the systems must be submitted for the opinion of the competent territorial office of the Ministry of Culture; this guarantees the uniformity, as well as the correctness of the works carried out, in relation to the uniqueness and authenticity of the historical asset. In this sense, a use and function compatible with the nature of the artefacts and the related urban contexts are also guaranteed and the protection from possible negative effects due to negligence or incompetence. Most of the territory of the Marche Region has repeatedly been hit by strong earthquakes, which have particularly affected many fragile historic centres, full of monuments such as theatres; nevertheless particular care and attention have been given to guarantee integrity: historic theatres still retain original furnishings, decorations and stage machines. Furthermore, even today, there’s a close relationship between the theatres and the cultural life of the towns where are located.

Among the recent initiatives aimed at making theatres lively and full active, we mention the "INNOVA theatres Program", which is part of the current Three-year Culture Plan of the Marche Region: it provides for financial support for improvement and adaptation of technological and stage systems and equipment, hiring local workers and professionals, after a timely in situ survey (theatre by theatre) of specific needs.

Comparison with other similar properties

An analysis of the sites nominated or inscribed on the UNESCO World Heritage List highlights the uniqueness and originality of the "Historical Theatres of the Marches" proposal. Instead, there are numerous buildings for shows and performance, of different chronological areas and cultures, embodied in larger and monumental complexes (such as the Greek theatre of Syracuse which is part of the site that includes the "Historic Centre of Syracuse and the rock necropolis of Pantalica "), or scenic spaces of exceptional value intended as individual assets: take for example the Roman Amphitheatre of El Jem in Tunisia, the Sydney Opera House, the Margravi Opera House, in Bavaria, a splendid Baroque opera with various similarities with some Marche theatres, but presented for its uniqueness.

Most of the theatres included in the List are present in registered historical centres, such as, for example (in Italy and in Europe): Gran Teatro La Fenice (UNESCO Site “Venice and its lagoon”), Teatro Olimpico (Vicenza, Italy), Teatro Bibiena (“Mantua and Sabbioneta”), Salzburger Landestheater (Salzburg, Austria), Wiener Staatsoper (Vienna, Austria), Opéra de Nice (Nice, France). Basically, there are no examples of a whole system similar to the one proposed, either for uniformity, or for territorial concentration. Furthermore, the same location in the original urban centres and their continuity of use over the time, in synergy with the social context, makes it a unique case.