The Verona Arena: one of the international temples of opera
Piazza Bra is much more than just a square: it is the magnificent open-air foyer of the Verona Arena, one of the most iconic and evocative opera houses in the world. In the late summer afternoons, the square comes alive with tourists and opera enthusiasts who approach the ancient arches of the Arena with excitement. The historic cafés and restaurants are crowded, while along the route from the amphitheater to the beginning of Via Mazzini, there are stalls selling opera librettos and souvenirs: a tradition that has been renewed for over a century.
It all began in 1912, thanks to the intuition of the famous tenor Giovanni Zenatello. One summer evening, during a dinner in a trattoria with some friends, Zenatello spoke of the idea of bringing the opera Aida by Giuseppe Verdi into the Roman Arena. That seemingly visionary proposal immediately sparked the group's enthusiasm. They decided to personally verify the acoustic potential of the monument. They asked the custodian of the Municipality for the keys and, once inside, they carried out an experiment: three of them positioned themselves in the center of the amphitheater, while one climbed to the top of the steps and dropped a coin, listening to the sound to evaluate its propagation.
According to another version, it was Zenatello himself who sang a romance to test the exceptional acoustics. In both cases, the experiment confirmed that the Arena was perfect for hosting a great opera. From that moment on, an impressive organizational machine began to stage Aida on August 10, 1913, on the occasion of the centenary of Verdi's birth.
But why was this opera chosen? Aida is one of Verdi's most spectacular compositions: an opera that combines love and betrayal, patriotic passion and heroism, with grandiose scenes populated by dancers, extras and choristers. Moreover, it was written in 1870 to celebrate a monumental event: the opening of the Suez Canal. So, what better place than the Arena to evoke that epic atmosphere?
The debate in the newspapers of the time was heated: it was debated whether it was really possible to perform an opera in such an open environment, facing the sky, in front of an audience of over 20,000 spectators. There were many questions: how would the voices be heard? What would the scene look like?
Despite the doubts, the project went ahead. A large construction site was opened: carpenters, tailors, blacksmiths, porters, and painters worked tirelessly to create costumes, sets, and stage structures. The challenge was to create an Aida that was completely different from that of traditional theaters.
The scenographic project was entrusted to a Veronese, the architect Ettore Fagiuoli. He immediately understood that the Arena offered unparalleled spaciousness and decided to exploit it in an innovative way. He abandoned the painted backdrops typical of closed theaters and introduced, for the first time, three-dimensional sets: temples, palaces, columns, and other realistic architectural elements were built, capable of transforming the amphitheater into an ancient Egyptian city. This scenographic revolution marked a turning point in the history of opera and gave the Arena a unique identity in the world of opera.
Since then, the Verona Arena has become one of the international temples of opera, capable of combining history, art, music, and passion in a timeless show. Even today, attending an opera under the stars, sitting among the ancient stones of the Roman amphitheater, remains an unforgettable experience for every visitor.
Significant
In the spring of 1913, the excitement for the first opera performance in the Arena spread throughout Verona. Traders, hoteliers, restaurateurs and artisans joined forces with passion to turn the event into a great collective celebration. The Municipality made the Gran Guardia available as a press room and organized an interprovincial transport network.
The central figure of the summer was the maestro Tullio Serafin, conductor and director of Aida, endowed with rigor and determination. During the dress rehearsal in the rain, while the orchestra had dispersed, Serafin remained at the piano to conduct, regardless of the bad weather.
On the evening of the premiere, August 10, 1913, the Arena was packed: spectators from all over the world – from the United States to Argentina, from Austria to Russia – sat in the stalls and on the steps. Among the guests were important personalities from the musical world such as Puccini, Mascagni, Boito and even a young Franz Kafka.
At Serafin's cry of "Viva Verdi", the audience responded with thunderous applause. The event's echo was global: Giovanni Zenatello's challenge had been won. From there began the long tradition of the Arenian Opera Festival, which already the following year, in 1914, continued with Bizet's Carmen.
Today, more than a hundred years later, the excitement is renewed every summer. The 2025 Festival will open with Nabucco, followed by Aida, La Traviata, Carmen, Rigoletto and Carmina Burana.
Source: 1913-2013 Arena di Verona, Historical Archive of the Arena di Verona Foundation 2013
