Theatro Municipal de São Paulo
The Theatro Municipal surgeon for the city of São Paulo as a great symbol of the cosmopolitan aspirations of the early 20th century.
More and more refined and with more resources for the coffee cycle, a high society from São Paulo mirrored itself in European values and desired a house of spectacles in height of its possessions to receive great artists of the lyrical music and the theater.
With tax incentives and investments from the coffee barons themselves, the architect Ramos de Azevedo and the Italians Cláudio Rossi and Domiziano Rossi began construction in 1903 and on September 12, 1911, the Municipal Theater was opened in front of a crowd of 20 thousand people who accompanied the arrival of the illustrious guests.
The luxurious building, heavily influenced by the Paris Opera, was opened to the time, with Renaissance and Baroque features on the facade and inside, many adornments and works of art: busts, bronzes, medallions, frescoes, crystals, neoclassical columns, stained glass , mosaics and marble. São Paulo was finally part of the international screenplay of the great spectacles.
On the stage of the Municipal Theater, the most important Iberians, such as Enrico Caruso, Beniamino Gigli, Mario Del Monaco, Maria Callas, Renata Tebaldi, Bidu Sayão, Arturo Toscanini, Camargo Guarnieri, Villa-Lobos, Francisco Mignoni, Magdalena Tagliaferro, Guiomar Novaes, Pietro Mascagni, Ana Pawlova, Arthur Rubinstein, Claudio Arau, Duke Ellington, Ella Fitzgerald, Isadora Duncan, Margot Fonteyn, Nijinsky, Nureyev, Baryshnikov, among many others.
The Theater was also the scene of one of the major events in the history of the non-Brazilian arts, a Week of 22, which between February 11 and 18, 1922 brought together a group of young artists who question the values of art and culture in force in fields of music, sculpture, painting, poetry and literature. In this group in Mário and Oswald de Andrade, Heitor Villa-Lobos, Víctor Brecheret, Di Cavalcanti, Anita Malfatti, Plínio Salgado, Menotti Del Pichia, Guilherme de Almeida and others who started the Brazilian modernist movement.
In over 100 years of history, three major renovations such as renovations and renovations have not Theatro. The first of them, in 1954, created new pavements to expand the dressing rooms, reduced the cabins and installed the G. Tamburini organ; a second one, from 1986 to 1991, restored the building and implemented more modern structures and equipment. To celebrate the centenary, the Municipal Theater of São Paulo underwent a third renovation, much more complex than previous ones, than to restore the building and modernize the stage. As facades and noble wing were restored, stained glass windows, such as decorative paintings, based on old photos, how many references and stage were equipped with modern features and features in the dressing rooms and test rooms, solved only with a construction and inauguration of the Square of the Arts in November 2013, an architect of the Theatro's artistic groups and as municipal schools of music and dance.
The Municipal Theater of São Paulo was transformed on May 27, 2011 from a Department of the Municipal Department of Culture of a Foundation of public law, with an artistic body formed by Municipal Symphony Orchestra of São Paulo, Municipal Lyrical Choir of São Paulo, Balé da City of São Paulo, String Quartet of the City of São Paulo, Mário de Andrade Choral, Experimental Orchestra of Repertory, São Paulo Municipal School of Music and the São Paulo Dance School, and having as spaces the Municipal Theater, Central Technique of the Municipal Theater and Praça das Artes.
The Municipal Theater of São Paulo has artistic direction of the conductor John Nescling, general direction of Paulo Massi Dallari and maintains management contract with a social organization of the culture Brazilian Institute of Cultural Management.