{"id":2486,"date":"2021-01-20T08:42:55","date_gmt":"2021-01-20T08:42:55","guid":{"rendered":"http:\/\/www.teatrodonizetti.it\/uncategorized\/missiroli-gavazzeni-and-the-theatre-of-new-musical-features\/"},"modified":"2025-10-22T16:14:58","modified_gmt":"2025-10-22T14:14:58","slug":"missiroli-gavazzeni-and-the-theatre-of-new-musical-features","status":"publish","type":"post","link":"https:\/\/www.teatrodonizetti.it\/en\/missiroli-gavazzeni-and-the-theatre-of-new-musical-features\/","title":{"rendered":"Missiroli-Gavazzeni and the theatre of new musical features"},"content":{"rendered":"

In this new atmosphere, the Donizetti took on a continuous technical structure and could better plan its activities. Missiroli was thus able to launch a notable initiative, the <\/span>Teatro delle Novit\u00e0<\/b>, (The Theatre of New Features) that is, the presentation \u2013 on a national scale and of an experimental nature \u2013 of unpublished works to make known and support new Italian musical energies. The prelude to this glorious adventure (which lasted from 1937 to 1973) was the 1935 opera season, in which, alongside repertoire works, <\/span>Paul and Virginia<\/span>, a new entry composed by <\/span>Gianandrea Gavazzeni<\/b>, who would shortly thereafter begin a glittering career as a conductor and collaborate with his friend Missiroli on the renewal of the Donizetti.<\/span><\/em><\/h5>\n
The Teatro delle Novit\u00e0 had great resonance throughout the country, with echoes abroad as well, and served to affirm not only new composers, singers, set designers and directors, inviting them to work in an experimental manner on a stage, but also that of the Donizetti, which became a veritable laboratory of the performing arts. Experimental compositions in music, texts, scripts, and costumes were staged. Some shows were highly successful such as <\/span>Elevated Railway<\/span> (1955) the first opera composed by Luciano Chailly on a text by Dino Buzzati; <\/span>The Bench<\/span> (1956) with text by Italo Calvino and music by Sergio Liberovici.<\/span><\/em><\/h5>\n
Meanwhile, there was the 1940-1945 war. The years were extremely dramatic, but even in this period, the shows performed a necessary cultural function. Reduced opera seasons were held with the presence of the orchestra and singers from La Scala, which had been displaced by the war. The post-war period marked a reawakening in the intellectual, social, and economic life of the city, with a resurgent interest in all forms of entertainment.<\/span><\/em><\/h5>\n
In 1948 a number of Donizetti publications saw the light of day; it can be said that in that year, largely due to the merit of Bindo Missiroli, the <\/span>Donizetti Renaissance<\/b>took root, that is, the phenomenon that would lead to the recovery, re-proposal, and knowledge of the works of the musician from Bergamo that had been performed little or had disappeared from the stage. Missiroli was also credited with the presence of the most celebrated musicians and famous performers, such as the soprano <\/span>Maria Callas<\/b> in the premiere of <\/span>Lucia di Lammermoor<\/span> in 1954 (the artist had already been to the Donizetti in 1951).<\/span><\/em><\/h5>\n
Reborn Prose Theater absent from the Donizetti since the 1930s, goes on stage <\/span>The Nights of Wrath <\/span> was staged. This was the first of a long series of performances by the Piccolo Theatre of Milan directed by Giorgio Strehler.<\/span><\/em><\/h5>\n
In 1952 two concerts officially consecrated jazz as a genre worthy of being heard at the Donizetti Theatre as much as classical music or opera. The first was scheduled for 6th February with the Dizzy Gillespie Orchestra. The more snobbish audience did not understand the new proposal and left the hall, but those who decided to stay went wild with American-style applause and whistles that were completely unheard of in that place. The second concert was scheduled for 17th November with Sidney Bechet\u2019s soprano saxophone group and Claude Luter with his orchestra and was once again a success; yet despite the consensus of the press and the public, the municipal administration would no longer support initiatives of this kind.<\/span><\/em><\/h5>\n
In the meantime, the Theatre underwent several interventions. After being closed for a few years, the renovated Theatre officially reopened to the public on 10th October 1964 with a performance of Donizetti\u2019s opera <\/span>Lucia di Lammermoor<\/span>, conducted by Gianandrea Gavazzeni, starring Renata Scotto.<\/span><\/em><\/h5>\n<\/div>
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