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Theatre Massimo2 Teatro Massimo Vittorio Emanuele - 2
would only be foolish to not only attend, but, mainly, to stage a play, an opera in particular, without trying to insert or read a spiritual message, which raises from the arid concepts, materials, bringing both openly implied that, to the Divine, which will be highlighted, as always present in
representations, apparently more frivolous
not to lose hope for a better future. Without the support of musical theater works there are many, where everything is entrusted to the skill and stage presence of the actors, but the music goes beyond enhancing even the most barren plot and poor interpretation.
not forget, too, that the ancient Greek tragedies of the great playwrights such as Sophocles, Aeschylus, Euripides, were also accompanied by music, even if archaic and we have not received, but even then, was placed to support the show. In addition, many unknown works, even of great poets and playwrights have come to the general public through the melodrama. To cite just one example, from Rigoletto, by Giuseppe Verdi as well-known, very few know how to be taken from the drama of Victor Hugo, "Le roi s'amuse" or "King Joker" and so we're going to treat others. Rounding out the principle of unity of opera, highlighting the scene, taking care to turn off the lights in the room at the beginning of the play and brings the orchestra into a lower floor of the hall, distancing itself further from the stage, has provided Richard Wagner, creator and achievements of the orchestra pit, less poetically known as the orchestra pit. You could, with the permission of the great German musician will also call, mystical vortex, because just like a vortex that starts from the bottom of the "Gulf", the music and involves highlighting what and who dominates the extraordinary event which is the representation opera. These experiments were made in practice by himself in his Wagner Festspielhaus in Bayreuth, a building erected in 1876 according to his conception of theater and was the first opera house as it is understood today with orchestra pit, a focus on acoustics proper care of the lights and much, since then also all the other theaters were processed and manufactured according to the innovations of the revolutionary musician. In this respect it seems that it was Wagner himself who advise GBF Basile how to put his experiences as a theater, then in the pipeline, especially for the perfect sound for which the Teatro Massimo, one third of Europe, like size and bigger of Italy, is still famous in the world. From the architectural point of view 
we note that the shapes of the structure of the Wagner Festspielhaus are similar to those outlined in the Teatro Massimo Festspielhaus
door of the Teatro Massimo communicating with
stage 
Let's see how the pitched roof the tower side of the stage and the projections are similar in the two theaters, although of different styles.
Unfortunately today we see as the perfect sound so famous in the world has been marred
possibly an over dose of reinforced concrete by
, so-called,
shameful restoration work for
twenty-four years have deprived the city of its main theater. Despite the
progress of science and technology professors of acoustics seems
not have learned anything from Basile and prfessor can not do better aimed at destroying what their predecessors have left because damage the acoustics seem to have affected all the theaters, which, at least in Italy, they beam work
of restoration.
The Teatro Massimo Vittorio Emanuele Basile conceived by the neo-classical style, has a large staircase on the main façade, in which the top six columns supporting the pediment with the base, the lintel is the inscription engraved in the above mentioned and entrance porch, below,
climbing the stairs on the right, a bust of Vincenzo Bellini 
In the photo, the metal dome, below the center, the entrance of the artists
All’interno il soffitto della sala presenta dei pannelli affrescati, scorrevoli, che fanno da petali all’affresco circolare, posto al centro,al posto di classici lampadari.
All’esterno sotto la cupola metallica, delle finestre, a mezza luna, comunicano con un ampio spazio tra la
cupola e il soffitto, favorendo l’areazione nei mesi caldi ; questa invenzione del Basile preveniva la moderna e dannosa aria condizionata.
Ai lati la scalinata d'ingresso due sculture allegoriche che raffigurano due leoni, cavalcati da due figure muliebri, rappresentano la Lirica e la tragedia, rispettivamente Mario Rutelli and Benedetto Civiletti, artists themselves Palermo, who built the group above, the Politeama Garibaldi, in both cases, their works seem to have been created by the same hand.
Tragedy
The prospectus, in one of the gardens side is placed a bronze bust of Giuseppe Verdi.
TEATRO MASSIMO 3
we note that the shapes of the structure of the Wagner Festspielhaus are similar to those outlined in the Teatro Massimo 
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