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The modern exterior
The old eighteenth-century façade onto Piazza Castello hides the completely new building that today houses the actual theatre. The structure, rather than being a parallelepiped, is arranged on a curvilinear plan, tapered symmetrically with respect to the longitudinal axis; in height, there are nine floors, four of which are underground.
The “Musical Odyssey” gate
The gate gate, erected in 1994 to close the Galleria Tamagno, is an abstract work work by the sculptor Umberto Mastroianni. It is opened only on the occasion of shows and is composed of two bronze elements placed on sliding rails, divided internally in squares and panels of varying dimensions representing the theme of music.
Galleria Francesco Tamagno
The large atrium – dedicated to the famous tenor from Torino, the first ever to sing the title role of Verdi’s Otello – accommodates the audience while it waits for the entrances to open. Here, you can find, besides the main entrance, access to the Piccolo Regio “Giacomo Puccini” below. Until 1997, when it was dedicated to Francesco Tamagno, the gallery was called “Atrio delle Carrozze” [Carriage Atrium]: in old theatres it was the area allocated to the transit of carriages transporting members of the audience.
Besides accommodating the audiences before or after performances at the Theatre, it can also be utilized for organizing exhibits or hosting travelling shows.
Inside the Galleria Tamagno is located the main entrance that leads to the foyer. However, there are also two side entrances, in via Verdi and the Piazzetta Mollino, one of which is the artists’ entrance. This can be found at the end of the Piazzetta, in proximity to the stage and lifts leading to rehearsal halls and dressing rooms. The side doors are also emergency exits if needed. In via Verdi there is the carriage entrance (or “of the stables”) from which machinery and structures for the stagings are introduced.
The side walls of the building, of a particular curvilinear form going back to the Baroque period, are lined partly in terra cotta and partly in glass. In elegant contrast, corresponding to the maximum curvature of the walls, are the large windows that converge on the connecting points with the former building. Instead, the rustication of the sections in terra cotta create the form of an eight-pointed star, another reference to Baroque style in Torino and an explicit reproduction of the decoration in the courtyard of Palazzo Carignano, the famous work of Guarino Guarini.
This is the precise name of the structure in concrete that rises above the building communicating with the auditorium, the structure that is normally referred to as “saddle-like”. An external terrace runs along the structure and makes it possible to admire from every angle the elegant sinuosity of its lines. On the north side of the terrace there are air vents, from where the air is aspirated and then conveyed to the purification system, at a depth of -12.50 m.