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Opernhaus auf der Cortina

Lodovico Ottavio Burnacini

alias Komödienhaus
history of the theatresupplementtechnical dataHistoric equipment

Important events

(detail)1666 | construction

(detail)1683 | closure


(detail)Lodovico Ottavio Burnacini |main architect
Italian architect and stage designer, active in Austria. He went to Vienna in 1651 as the apprentice of his father, Giovanni Burnacini (d 1655), the Venetian theatre architect who introduced to Vienna the system of stage design developed by Giovanni Battista Aleotti and who produced stage sets in the Florentine-Venetian style of Giulio and Alfonso Parigi and Giacomo Torelli. Lodovico Burnacini was his father's assistant until the latter's death and succeeded him in the office of theatre architect and imperial court engineer to Emperor Leopold I. Although he participated in the construction of various imperial castles in the vicinity of Vienna, Burnacini was mainly engaged in theatre design, developing his father's style of stage settings and becoming the founder of the Viennese style, which had considerable influence on German theatre. Designs for 115 compositions and plays have survived, and many of Burnacini's designs were reproduced as engravings in luxury editions of the libretti. Holograph drawings are preserved (Vienna, ?sterreich. Nbib.). They include religious themes, physiognomic sketches, figurines and grotesques as well as narrative illustrations. Read more: http://www.answers.com/topic/lodovico-ottavio-burnacini-1#ixzz2emmYCmsTMore theatres


A separate wooden building was constructed in what is now the Bibliothekshof  by Lodovico Ottavio Bumacini for the wedding of Leopold I and Margarita Teresa in 1666. It had a rectangular shape (64.6 x 26.6 m., 14.6 m. in height) with three galleries and probably seated about 1000 persons.


In: Harer, Ingeborg (1995) "Musical Venues in Vienna, Seventeenth Century to the Present,"Performance Practice Review: Vol. 8: No. 1, Article 8. 


It had two arcaded levels of galleries and the acting area, as usual, spilt forward on to the floor of the house. As rebuilt thirty-five years later by Giovanni's son, Ludovico, it had three tiers of galleries on an awkward rectangular plan, but a splendid trompe-1' ceil ceiling which made it seem larger than it really was.


In: Tidworth, Simon : Theatres: An Illustrated History. London 1973 p.74



Authors: Simon Tidworth, Ingeborg Harer

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