Music has been the underlying priority of the Auditorium’s architectural and urban project.
All the available areas, both internal and external, have been planned according to their being functional to musical activity. More specifically, the Auditorium has not only three concert halls, but also a Theatre Studio, and Studios 1, 2, 3, a foyer and a cavea.
Each of the three halls is different in size and has been constructed with the aim of satisfying the needs of any music genre. The Santa Cecilia Hall can be used for large orchestral and choral symphonic concerts. The Sinopoli Hall, because of its greater acoustic flexibility, is more apt for a great variety of musical genres. This is also because orchestra position can be modified with respect to the audience; the Petrassi Hall, finally, has been assigned to contemporary musical genres, theatre performances and cinema. This is because it has an inbuilt system that allows both the musical source and the audience to be shifted and the sound reverberation tuned. Theatre Studio, with his 350 places, is a multi-functional space.
Studios 1, 2, 3 are also important musical locations. Thanks to the quality of their technical facilities and equipment, they guarantee all practice sessions optimal acoustic conditions.
Even the foyer can be used, on particular occasions, to present simple musical performances.
Finally, the Cavea the open-air amphitheatre at the centre of the Auditorium, is another particularly interesting musical area welcoming up to 3.000 spectators.
Apart from these areas dedicated exclusively to music, the new Auditorium also has spaces that can be used for conferences, debates, meetings with composers and musicians, research (there is a library and a listening room) and didactic purposes (vocal, musical and multimedia research workshops). Finally, there is also a bookshop, a bar and a restaurant to take pleasant rests.
01. The Santa Cecilia Hall
This hall has been conceived mainly for symphonic music. Because of its peculiar acoustics (the time of reverberation is 2,2 seconds), it can also be used for concerts of sacred, chamber and contemporary music, guaranteeing excellent listening conditions.
The volume of the entire architectural project is about 30.000 square metres.
The covering shell-vaults, of exceptional sizes, are made with frames of girders of glue-laminated wood, combined with steel elements.
The towards the middle of the hall, the stage is surrounded by the “vineyards”: seated places that rise like a valance around the stage.
The innovative conception is that of the suspended ceiling. It is made with 26 shells of American cherry wood, each one of which has a 180 square metre surface. Even the pit and the galleries are veneered with wood in order to make a harmonic chamber out of the hall, guaranteeing excellent acoustics.
02. The Sinopoli Hall
This hall is designed mainly for symphonic music, with or without choir, and chamber music. Its main feature is an extremely flexible stage.
The possibility of changing the size of the stage, of the choir, of the orchestra and of the audience, in fact, allows the sound reverberation tuning. This means that ballet, contemporary music concerts and other types of shows can also be held there.
03. The Petrassi Hall
The smallest hall is a real musical theatre. There is a pit for the orchestra and the stage is well equipped to allow for stage and dress changes.
The two stage flank walls can rotate by 90° allowing a traditional proscenium, with Italian-style drop curtains, to be made for operas and theatrical shows. Vice-versa, keeping the flank walls in the original position, allows a so-called “open scene” stage that can be used for chamber, baroque and symphonic music concerts, as well as theatre performances and screen projections.
04. The Foyer
The large foyer which links the entrances to the three halls is used as more than just a meeting point. It is also a multifunctional area where you can go and visit an exhibition called “Risonanze” and the Auditorium’s Archaeological Museum.
Walking through the foyer, one will also come across a luminous route with 20 neon compositions, made by Tuscan artist Maurizio Nannucci. This work of art, which is going to reside permanently here, has been conceived and designed exclusively for the Auditorium Parco della Musica.
05. The Cavea
The Cavea, named after composer Luciano Berio, is the physical demonstration of the main concept behind the whole Auditorium project: it acts both as an open-air theatre and as a square. This dual function makes it the fulcrum of the premises’ centrality with respect to its urban surrounding.
The Cavea has gradually become a meeting place. It is now part of the urban context and is used, in everyday life, as a normal city square.
L'Auditorium Parco della Musica è aperto al pubblico tutti i giorni.
Orario invernale: da ottobre a marzo dalle 11 alle 18. Domenica e festivi dalle 10 alle 18
Orario Estivo: da aprile a ottobre dalle 11 alle 20. Domenica e festivi dalla 10 alle 20
L'Auditorium Parco della Musica dal 4 dicembre al 6 gennaio 2014 è aperto tutti i giorni dalle 11 alle 20.
La domenica e festivi dalle 10 alle 20.
Il 24 dicembre dalle 11 alle 14.
Il 1° gennaio dalle 12 alle 18.
La biglietteria centrale dell'Auditorium - Viale Pietro de Coubertin, 30 - 00196 Roma
La biglietteria è aperta tutti i giorni dalle 11 alle 20. Nei giorni di spettacolo la biglietteria chiude ad inizio evento.
24 dicembre dalle 11 alle 14.
31 dicembre dalle 11 alle 20.
1° gennaio dalle 12 alle 20.
Fondazione Musica per Roma
Viale Pietro de Coubertin, 30 - 00196 Roma
Centralino +39 06 802411 - Fax +39 06 80241 211
Infoline +39 06 80241281 (dalle 11 alle 18)
Accademia Nazionale di Santa Cecilia
Largo Luciano Berio 3 - 00196 Roma
Centralino +39 06 80242501 - Fax +39 06 80242300
Infoline +39 06 8082058
Fondazione Cinema per Roma
Viale Pietro de Coubertin, 10 - 00196 Roma
Centralino +39 06 40 401 900