Staircase leading to the Ridotto, also known as Casino del Teatro (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
An elegant Apuan marble staircase, located on the side of the foyer, leads to the Ridotto room, once for the exclusive use of the Duchess and her guests.
Ridotto, the old dance hallTeatro Regio di Parma
Connected until 1944 to the Palazzo Ducale by one of the overpasses flanking the facade of the theater, the Ridotto presents an articulated and solemn spatiality.
This room is used today for chamber concerts, presentations and shows and it can hold around 180 spectators.
Ridotto, view of the main hall from the stage (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The main room has an essential and sober style, where you can clearly see the rigor and harmony of lines and shades. Here you are surrounded by the history of neoclassical decoration and of the Empire-style furnishings.
Ridotto, side view of the hall. In the mirror, Pirithoos participating in Helena's kidnapping (1827/1829) by Stanislao CampanaTeatro Regio di Parma
All decorations are symbolic and reinforce the value of the arts with emblems, metaphors and allegories,
with the stuccos of Tommaso Bandini and Camillo Rusca, which continue and confirm the symbolic meaning
with the bas-reliefs that unfold around the sides of the room and tell the the myth of Theseus and the union of beauty with the arts of music and dance.
The Ridotto, stage, side viewTeatro Regio di Parma
This was the representative place of the Duchess, the setting for public but elitist events, where dance steps moved around the splendid wooden floor with an illusory interweaving.
Ridotto main hall, one of the three internal arcades for dance orchestras, the dances of Theseus in Delos (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The court dances were accompanied by the orchestras placed in the internal arcade overlooking the gallery.
Ridotto main hall, with the two magnificient blown-glass chandeliersTeatro Regio di Parma
The large vault of the ceiling painted by Giovanni Azzi, ringing with colors, divided into large geometric mirrors of various shapes, exhibits symbolic images of dancing and playing bacchantes.
Ridotto, ceiling, Harmony on the throne (1827/1829) by Giovanni AzziTeatro Regio di Parma
In a space that does not dampen, but lights up - the images whisper the fruitfulness of the arts that generates harmony, represented in the center of the vault in the guise of the sovereign.
Ridotto, blown glass chandelierTeatro Regio di Parma
The grace and beauty of the sac-à-pearls empire style chandeliers adorn the salon with a myriad of blown glass beads, making the atmosphere sophisticated and enchanting.
The rooms around the Ridotto
Communicating rooms were built around the main hall, frescoed between 1827 and 1828 and used as a casino by noble people for recreational activities.
Etruscan room, detail of the vault in Etruscan style (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The neoclassical taste indicates the original models of all the decorations, where the preference for the Pompeian, Greek and Etruscan style is evident.
Ridotto, the Putti room (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The Pompeian room features lively colors interspersed with griffins, grotesques, frames, friezes and palmettes.
Ridotto, Pompeian room, detail of the vault (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The Ridotto, the Putti room (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
the decoration of the Putti room represents playful and chubby little angels on small floats driven by fictional animals - a recurring taste during the neoclassical period.
Ridotto, detail of the vault in the Putti room (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
Ridotto, Ulysses room, vault (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The ceiling of the elegant and majestic room of Ulysses tell the story of the Odyssey's hero.
Ridotto, Council Room (Sala Negri) (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
The former council room, dedicated to the illustrious theater director Giuseppe Negri, is a hymn to music.
Negri room, fresco of a lyre, with trumpets and garlands (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
the monochrome band that runs around the sides repeatedly reveals the musical instrument of the lyre joyfully garlanded by trumpets, fruits, vine leaves and flowers.
Negri room, a Neoclassical muse detail (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
symbolic medallions in the upper band
Negri room, musicians at the centre of the vault (1827/1829) by Paolo Toschi, T. Bandini, G. Azzi, C. Rusca, S. Campana, G. Smith, P. Piazza, G. GelatiTeatro Regio di Parma
and the polychrome vault of the ceiling closes this cultural journey in a jubilation of ancient sounds and colors.
