
The first time we entered the auditorium of the Teatro di San Carlo we stood in silence for a few seconds: red, gold and five tiers of boxes rising towards a painted ceiling. Even if you are not an opera lover, a visit to this Naples theatre is worth the trip. Here is its story and how to discover it.
The oldest opera house still in operation
The San Carlo was inaugurated on 4 November 1737, the name day of King Charles of Bourbon, after whom it is named. It is considered the oldest opera house in the world still in operation: it opened decades before other famous theatres such as La Scala in Milan and La Fenice in Venice.
The design was by Giovanni Antonio Medrano and the works were directed by Angelo Carasale. Construction took about eight months, a surprisingly short time for a building of this size. The opening night featured Achille in Sciro by Domenico Sarro, with a libretto by Pietro Metastasio.
The horseshoe auditorium
One of the San Carlo’s most important features is the horseshoe plan of its auditorium, which became a model for many Italian and European theatres. The boxes are arranged on several tiers around the stalls, with the great Royal Box in the centre, from which the court watched the performances.
Originally the auditorium could hold more than three thousand spectators; today, because of safety regulations, capacity has been reduced to about 1,386 seats. From the stalls, we recommend looking up: the acoustics and the view of the illuminated boxes give you a good idea of how important this place was to the life of the city.
The 1816 fire and the rebirth
On the night of 13 February 1816 a fire destroyed most of the theatre. The reconstruction was entrusted to the architect Antonio Niccolini, who managed to give the San Carlo back to the city in about nine months. On that occasion the ceiling was raised, improving the acoustics.
The great ceiling we see today was painted by Giuseppe Cammarano and measures about 500 square metres. When you look at it from the stalls, with the chandelier in the centre, you understand why so many visitors leave with a slightly stiff neck.
Rossini, Donizetti and the great composers
In the 19th century the San Carlo was one of the centres of European music. Gioachino Rossini was its musical director from 1815 to 1822, followed by Gaetano Donizetti. Works by composers such as Giuseppe Verdi and Vincenzo Bellini premiered on its stage, and today the season still includes opera, ballet and symphony concerts.
If you want to find out more, next to the theatre is MeMus, the museum devoted to the memory of the San Carlo, opened in 2011, with costumes, sketches and documents linked to the theatre’s history.
Guided tour or performance?
There are two ways to experience the San Carlo. The first is the guided tour, which lets you enter the auditorium, the foyer and, when possible, the Royal Box while learning about the theatre’s history. The second is to attend a performance: seeing the auditorium full and hearing the orchestra live is a different kind of thrill. If you can, do both. Check times and tickets on the official website before you go.
Getting there and when to go
The theatre is on Via San Carlo, next to the Royal Palace and a few steps from Piazza del Plebiscito and the Galleria Umberto I. It is easy to reach on foot from the centre or by Metro Line 1, getting off at Municipio or Toledo. The theatre season runs mainly from autumn to spring, while guided tours are available all year round, except for closures due to rehearsals and stage set-ups.
Nearby
When you leave the theatre you are in the monumental heart of the city: Piazza del Plebiscito and the royal palace are described in Spaccanapoli, Palazzo del Plebiscito and the Royal Palace, while right opposite opens the arcade described in The Galleria Umberto I and Via Toledo. Just cross the road to reach the castle on Piazza Municipio, the subject of The Maschio Angioino. Heading down towards the sea, on the other hand, The legend of Castel dell’Ovo awaits you. For everything else, start from our guide Naples and Surroundings.
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