Around the middle of the nineteenth century, in the context of an extensive project to reform opera, German composer Richard Wagner began to envision a new kind of theater building that finally saw the light in 1876 in Bayreuth as the Festspielhaus. In the following century, Italian architect Aldo Rossi evoked its characteristic features in his reconstruction project of the Carlo Felice Opera House in Genoa, a building that had been partially destroyed during World War II and was reopened to the public in 1991. At the same time, he restored the relationship between architecture and the city that Wagnerian precepts had more or less consciously eliminated. By revisiting the time that separates the two buildings, and specifically the changes that the most important playhouses underwent, this essay attempts to capture the distinctive elements of the Wagnerian playhouse in order to evaluate what remains of them, what was omitted, and what was subtracted from later buildings that either exist only as projects or that were in fact actualized.

大约在 19 世纪中叶，在大规模改革歌剧的背景下，德国作曲家理查德瓦格纳开始构想一种新型的剧院建筑，最终于 1876 年在拜罗伊特作为Festspielhaus出现. 在接下来的一个世纪里，意大利建筑师阿尔多·罗西（Aldo Rossi）在他的热那亚卡罗费利斯歌剧院（Carlo Felice Opera House）的重建项目中唤起了它的特色，这座建筑在二战期间被部分摧毁，并于 1991 年重新向公众开放。同时，他恢复了瓦格纳的戒律或多或少有意识地消除的建筑与城市之间的关系。通过重新审视分隔两座建筑的时间，特别是最重要的剧场所经历的变化，本文试图捕捉瓦格纳剧场的独特元素，以评估它们的剩余部分、遗漏的部分和减去的部分来自后来的建筑物，这些建筑物要么仅作为项目存在，要么实际上已实现。