BACK
A THEATRE CONSTANTLY UNDER CONSTRUCTION
From 1817 the Teatro Real has been under reconstruction, extension or reform; always amid rumours of demolition. After 32 years of work it was inaugurated in 1850. Cracks and holes forced its closure in 1925.
Having resolved its problems, it reopened as a concert hall for 22 years and it will not be until 1997 that it is able to once again raise the curtain as an opera house. Over its two centuries of life up to 13 architects have left their mark on this building.
Room of the Teatro Real. Tribute to Echegaray. The illustration. Photo: Museum of History of Madrid
1888
First signs of modernisation
Electricity is installed in the theatre building. The stalls can for the first time be dimmed and all the attention is centred on the stage.
The master Odón Alonso directing the Symphonic Orchestra and the Spanish RTV Choir in the Teatro Real (1970). EFE
1966
SYMPHONIC USE AFTER 41 YEARS IN SILENCE
The project to create a concert hall is granted to architect José Manuel González Valcarcel. Equipped with 66 million pesetas, it is carried out and completed in 11 months. It was inaugurated on 13 October 1966 with 2,125 seats, a 552 m2 stage and an organ with 5,500 pipes.
Present view of the stalls at the Teatro Real of Madrid (1997-2017) RTVE ARCHIVES
1997
FINALLY, A NEW OPERA HOUSE
In 1988 works began to reinstate the theatre as an operatic coliseum. After nearly ten years the work was finally over and a theatre management team was created. The new Real was inaugurated on 11 October 1997 with 'La Vida Breve' by Manuel de Falla.
RETURN TO ITS ORIGINS
Toward the end of 1992 the Ministry contracts another team of architects. Francisco Rodríguez Partearroyo is named construction manager for the project at the Real. He requested three months to design an alternative project that culminated in the present building.
AND SO A FALSE WALL SAVED AN OPERA HOUSE
J. Manuel González Valcarcel reformed the theatre for symphonic use in 1966. During the works, he failed to fulfill the express order of the Ministry to fill the pit with cement. With a false brick wall, manipulating plans and reports, he was able to deceive everybody. He wanted to completely conserve the future possibilities of the theatre and was very close to seeing his dreams come true. He died at 79 on site in 1992 during a press visit to the works that would finally return this theatre to its original function.