Misplaced Pages

#644355

23-500: Teatro Municipal de São Luiz was the idea of the Portuguese actor, Guilherme da Silveira, who became its first technical director. He persuaded several investors to fund the new theatre, led by Luís de Braga Júnior, the Viscount of São Luiz de Braga. The French architect Louis Reynaud was contracted to design the theatre, giving it a "Parisian" style. Interior decorations included a fresco by

46-540: A cinema, leading to an unsuccessful attempt to return it to live theatre. In 1971, the theatre was bought by Lisbon City Council, and its name was changed to Teatro Municipal de São Luiz . The new resident company had Luiz Francisco Rebello as Director, and included Eunice Muñoz among the actors. In 1990 the Council contracted with the Companhia Teatral do Chiado (Theatre Company of Chiado) and Mário Viegas to operate

69-562: A musical play written by the Monty Python team member Terry Jones . This was based on his book, with original music by Portuguese composer Luis Tinoco . Luigi Manini Luigi Pietro Manini, Count of Fagagna (Crema, Lombardy-Venetia, Austrian Empire , 8 March 1848 – Brescia , 29 June 1936) was an Italian set designer, architect, and painter. He arrived in Lisbon, Portugal, in 1879, where he lived until he returned to Italy in 1913. Manini

92-503: The São Luiz , at the age of 91. In 1910, following the overthrow of the monarchy , the Viscount renamed it Teatro da República . In September 1914 a fire completely destroyed the theatre, a fate that befell several theatres in Lisbon. It was speedily rebuilt to the original design, and was reopened on 16 January 1916 with a performance of Os Posticos by Eduardo Schwalbach Lucci, with President Machado in attendance. The same year witnessed

115-755: The Garcia de Resende Theater (in Évora), the Teatro Sá de Miranda (in Viana do Castelo ) and the D. Maria Pia Theater, Municipal Theater Baltazar Dias. In 1913, Manini returned to Italy with his fortunes made in Portugal, where he lived until his death in Brescia at the age of 88 on June 29, 1936. He was buried in Cremona, in the family chapel. The Cremona library still holds many of his drawings today. Manini's other work in Portugal includes

138-563: The Italian set designer, Luigi Manini . The theatre was originally named the Teatro Dona Amélia , after the then Queen of Portugal and the Queen and King Carlos attended the official opening on 22 May 1894, their eighth wedding anniversary. The first performance was Offenbach’s comic operetta, The Drum Major’s Daughter . The theatre quickly became an important cultural and artistic centre of

161-552: The Manueline style was never more prevalent.  This cultural environment was the ideal breeding ground for what would be one of Manini's most spectacular architectural works: Quinta da Regaleira (Sintra). The property was acquired at the beginning of the 20th century by the millionaire Antonio Augusto Carvalho Monteiro (also known as "Monteiro the Millionaire"). In love with the work of Camões, Monteiro commissioned Manini to design

184-663: The Regaleira Palace). Both palaces were built in stone, which was sent by rail to Sintra from the Pedra de Ançã quarry located in the vicinity of Coimbra. Other projects Manini participated in include the Torre de São Sebastião, a palace that currently houses the Condes de Castro Guimarães Library Museum in Cascais. Manini also contributed to more minor projects of art, including the decorations made at

207-501: The churches of Vaiano Cremasco and Zappello. He showed remarkable skills for tempering and in the restoration of the frescoes of the church of San Bernardino. He also worked on the decoration of Villa Stramezzi (Moscazzano). Thanks to the patronage of the wealthy Count of Farrobo, the Opera de São Carlos reopened in January 1834 following the end of the liberal wars. From its opening date to 1879,

230-475: The debut in the theatre of the popular Portuguese actor, Amélia Rey Colaço . In the following year Almada Negreiros read his “ Futurist Ultimatum” to a scandalized audience that included the famous Portuguese poet, Fernando Pessoa . The Viscount of São Luiz de Braga died in 1918 and in his honour the theatre was then renamed as the Teatro São Luiz . In 1928 it was remodelled to enable film projection, with

253-608: The decorative paintings, as well as the sculptor J. Machado. Additional artists who contributed to the palace included local masters from the Free School of Fine Art of Coimbra. In 1894 Manini worked on the décor for the Theater São Luiz, which was inaugurated in the same year, and in 1895 worked on the décor of the Military Museum. Both are good examples of his nationalistic ideas combining Manueline elements. Manini also painted

SECTION 10

#1733085076645

276-566: The distinguished set designer, Carlo Ferrario , the professor of stage design at La Scala . Manini then moved to Portugal to work for the Real Teatro de São Carlos (nowadays the Teatro Nacional de São Carlos ) in 1879. He lived on in Portugal until 1913 when he returned to Italy where he died in Brescia in 1936. While he was still living in Italy, he worked in his hometown where he decorated

299-477: The elite of Lisbon. It attracted many famous European actors including Sarah Bernhardt (1899), Eleonora Duse (1898), Coquelin Cadet , Gabrielle Réjane , and Jeanne Julia Bartet (1902), as well as the actor and director André Antoine , creator of Théâtre Libre . The Teatro Dona Amélia also housed a cinematograph, installed in 1896, that showed short films, among them the earliest films shot in Portugal , during

322-419: The first film to be shown being Metropolis , directed by Fritz Lang and accompanied by a 15-piece band. Further changes were made in 1930, and it became the first sound film cinema in Portugal, with the first film to be shown being Prix de Beauté . The first Portuguese sound film, A Severa , by José Leitão de Barros , was screened on 18 June 1931. From 1960 the São Luiz started to lose popularity as

345-418: The intervals and at the end of plays. It also hosted carnival balls, choral music, and many lunches. In 1898, the theatre group of Augusto Rosa and Eduardo Brazão took up residence and attracted many of the most famous Portuguese actors to the theatre, including Adelina Abranches , Palmira Bastos , António Pinheiro, Chaby Pinheiro, Emília Cândida , and Actor Taborda . Bastos would give her final performance at

368-589: The new master of Portuguese set design. He not only gained critical acclaim as a set designer, but was also seen as an innovative painter. His paintings were strongly influenced by lyrical theatrical themes. In the context of Portuguese scenography, Manini left some important legacies of his design, not only in the Teatro de São Carlos, but also the Teatro Dona Maria II (the latter which was inaugurated in 1846 by Almeida Garrett). When Manini turned 40 in 1888, he

391-593: The palace standing today at Quinta da Regaleira which gave rise to Manini's fantastic Manueline fantasies. The town of Sintra was no stranger to this aesthetic, with the Royal Palace boasting the original and unique elements in Manueline. During this revival period the Manueline influence left its mark on other surrounding palaces in the area too, including the Palacio da Pena, which was the work of Baron Eschwege (an artist who also worked on Palacio de Buçaco and assisted  on

414-475: The resident set designer was Giuseppe Cinatti (Siena, 1808), but following his death it was necessary to hire a new artist. Thanks to Manini's experience at the Teatro a la Scala, he was the chosen set designer to replace Ginatti. At that time, Portugal lacked the technical and artistic expertise, which Luigi Manini brought from his experience in Italy. Manini quickly dominated the market from his predecessor, Cinatti, and while collaborating with Rambois, became

437-575: The sets for the operas Aida , Il Guarany , Lohengrin , Mephistoles , and Otello , Teatro de Funchal the Winter Garden at the Teatro de São João . His wife, Teresa, was sister of the painter Angelo Bacchetta , and their daughter Ebe married Bacchetta's son, Azelio. Lu%C3%ADs Miguel Cintra Luís Miguel Valle Cintra (born 29 April 1949) is a Portuguese actor. He has appeared in more than 60 films since 1970. In 1973 Cintra founded

460-722: The staircase passage in the Foz Palace and decorated the Portuguese Pavilion at the Paris Universal Exhibition in 1900 with an allegorical screen of the discoveries and voyages of Pedro Álvares Cabral, scenes of Fernão de Magalhães and Corte Real. At the end of the 19th century, celebration of the greatness of Portuguese discoveries were at their highest. With events such as the Cameron celebrations in 1880 and events in 1898 celebrating Vasco da Gama's incredible voyage to India,

483-490: The theatre. In 1998, major remodelling and expansion began. This involved the restoration of the main theatre, the remodelling of the stage and back-stage areas, and the creation of a studio room, a café-concert and a restaurant. Following completion of the work the theatre re-opened with the musical Amália , by Filipe La Féria . In July 2016, the main theatre was named after the Portuguese actor Luís Miguel Cintra . In January 2008, Teatro São Luiz premiered Evil Machines ,

SECTION 20

#1733085076645

506-629: Was invited by Emídio Navarroto to design a palace in the Buçaco mountain range which was to be used as a hunting lodge for the royal family. Manini's architectural vision was for a romantic neo-Roman style, a design which was on the decline since 1878. Manini, however, oblivious to the new emerging aesthetic currents, stuck with his intended design and constructed the Buçaco Palace.  This in return gave rise to working opportunities for other Venetian artists, such as Norte Júnior and Nicola Bigaglia who executed

529-609: Was responsible for some of the most striking architectural designs in Portugal; some of his most famous works include: He was born in Crema , Lombardy, Italy , and attended the school of master, Antonio Polgati, where he studied until 1861 under the direction of Professor Ferdiando Cassina in Milan and Brescia. He also attended the Academy of Fine Arts in Brera (Milan) and in 1874 worked as an assistant with

#644355