The aim of the conference was to bring together some of the world’s best international experts to share and discuss the essential aspects of the project over three days dedicated respectively to the NEED for the reconstruction of the Teatro San Cassiano, to the SOLUTON given by the reimagination of the theatre of 1637—based on rigorous archival research (and, of course, on the work of historians who in the past have dealt with Venetian theatres and the Teatro San Cassiano in particular)—and, finally, the OPPORTUNITY that the Teatro San Cassiano will be able to offer, as well as on an international level, in Venice and its territory from a cultural, commercial, employment, tourist and educational viewpoint.

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This path, which from the beginning was spontaneously transformed into a rich dialogue between the speakers, the public and the visitors of the exhibition (set up to accompany the conference, and which continued until the open day on Sunday 16th), touched on various topics: starting from the basic concepts at the heart of the project and the methodology that we intend to follow, to the reconstruction in its technical application, to the various experiences of the speakers about the architectural and reconstructive aspects, lighting, scenography, acoustics, and then—as far as performance is concerned—with particular attention to aspects relating to repertoire and more general musicological issues, such as to historically conscious gesture, and to the completely new and intimate relationship that would be created between the stage and the audience inside the Teatro San Cassiano. Added insight was given by the speakers present who, in various capacities, have participated over the course of the past decades in the reconstruction and activity of Shakespeare's Globe and Sam Wanamaker Playhouse, two London theatres that offer models of excellence (the Wanamaker in a particular way, due to certain similarities of structure and cultural proposal with the Teatro San Cassiano), and by the speakers related to the pioneering Castle Theatre of Český Krumlov, in the Czech Republic.

The full success of the conference was crowned by the extraordinary closing concert on Saturday 15 June 2019, with music by Claudio Monteverdi, Antonio Gianettini and other composers linked in various ways to Venice and to the Teatro San Cassiano. Impeccable protagonists were the conductors Jane Glover and Ondřej Macek, the Venice Baroque Orchestra and the voices of Giacomo Schiavo (who promptly replaced Furio Zanasi, present but unfortunately indisposed, in the role of Testo in the Combattimento di Tancredi et Clorinda), Marina Bartoli, Giulia Bolcato, and Marco Barbon. Also worthy of note is the excellent performance of both the Baroque Orchestra of the "Benedett Marcello" (preparatory teachers Tiziano Bagnati, Cristiano Contadin, Enrico Parizzi and Francesco Erle (music director); and students Rita Celanzi, Agnese Fiori, Sebastiano Franz, Alessandra Box, Cecilia Zanotto, Maria Bocelli, Pedro Raposo Pereira, Carlo Santi, Davide Gazzato, Michele Mancusi, Mizuho Furukubo), and the voices of Ligia Ishitani, Andrea Gavagnin, Yihao Duan, Lidia Fridman.

This is our opportunity to thank all those involved, both in terms of our wonderful participants and the many incredible Venetian companies without whom the considerable success of the conference would not have been possible.

Stefano Patuzzi
Director of Research
Teatro San Cassiano

For full conference and concert programme click here