L'Italo-Americano

www.italoamericano.org 8 THURSDAY, SEPTEMBER 21 2023 L'Italo-Americano W hat if we m o m e n - t a r i l y f o r g o t t h e h i s - tory of the construction of Palermo's Teatro Lirico Vittorio Emanuele, better known as Massimo, and instead let our imaginations run wild, playing detectives t o u n r a v e l t h e e n i g m a behind the inscription on t h e e n t r a n c e p e d i m e n t ? Would two or three days at most ("due o tre giorni al Massimo") suffice to uncov- e r t h e m y s t e r y t h a t h a s i n t r i g u e d ( o r p u z z l e d ? ) m a n y P a l e r m i t a n s - a n d anyone deeply curious about it - since its inauguration on May 16, 1897? In Due o Tre Giorni al M a s s i m o , p u b l i s h e d b y Etabeta editions, the follow- ing authors delved into this q u e s t i o n : G i a n n i A n d r e i , A n t o n i o C a p i t a n o , Michelangelo Capitano, Gio- vanni Cassiba, Renato Col- lodoro, Alessandro La Porta, Cristiano Leone, Domenico Rizzo, and Marianna Scibet- t a . T h e y e n g a g e d i n a d e l i g h t f u l s e a r c h f o r t h e author of the bronze-let - tered phrase welcoming the audience atop the theater's grand staircase: "Art renews the people and reveals their l i f e . T h e p l e a s u r e o f t h e scenes is in vain if it does n o t a i m t o p r e p a r e t h e future." This succinct yet caution- ary phrase sets the stage for an intriguing account of the birth of Teatro Massimo, its key figures during the con- struction era, and the narra- tives of the authors who, while rooting their narrative in the actual history of the b u i l d i n g ' s c o n s t r u c t i o n , sprinkle in a dash of imagi- n a t i o n . T h r o u g h t h e s e tales—sometimes shrouded in subtle irony and nostalgic truth-seeking—we are pre- sented with plausible theo- ries, one of which at least, we'd like to believe. Each author weaves their story with real and probable events, blending in historical figures from Palermo while utilizing literary techniques to best portray the charac- ters as avatars of the era's protagonists. The storytelling challenge is quite intriguing, originat- ing from an invitation by a Palermitan transplanted to Rome named Vittoria. Out of love for her birth city and in search of her great-grand- mother Teresa's diary, she i n i t i a t e s a c o m p e t i t i o n through a local newspaper ad. The goal? To identify, via narratives, the author of the p h r a s e i n s c r i b e d o n t h e façade of Italy's largest lyric theater and Europe's third, f o l l o w i n g P a r i s ' s O p é r a N a t i o n a l a n d V i e n n a ' s Staatsoper. T h i s e n t i r e e n d e a v o r should be wrapped up in two or three days at most, due o tre giorni al Massimo... "Words underpin every human expression. They are milestones and bridges, lit- e r a t u r e , a n d a r t . W o r d s w e a v e t h e f a b r i c o f a l l human faculties. They ele- v a t e t h o u g h t . W o r d s — whether inscribed, sculpted, spoken, or written—contrast with silence; they are histo- ry." This is what Vittoria says to shed light on why she entrusts the narration - and the competition - to uncover t h e a u t h o r s h i p o f t h e e n g r a v i n g o n M a s s i m o ' s façade. T h e b o o k n a v i g a t e s through recollections of her childhood, friendships, and places of yesteryears, granti- ng readers the chance to dis- cover—or rediscover—monu- ments, landscapes, noble houses, and characters in w h i c h t h e p r o t a g o n i s t i s enchantingly immersed. Yet, the crux lies in the theories proposed by competing writ- ers. Those who ultimately unveil the mystery and name the true author will receive a g e n e r o u s r e w a r d . F e w authors heed the call, but t h e i r t a l e s , o s c i l l a t i n g b e t w e e n f a c t a n d f i c t i o n , depict a bygone Palermo - narrated without embellish- m e n t b u t o c c a s i o n a l l y romanticized. These stories include a mix of reimagined real-life events, made-up characters, and personal perspectives. Some stories might take on the form of a mystery, with literary references like Gio- v a n n i P a s c o l i ' s q u o t e " D r e a m s a r e t h e e n d l e s s shadow of truth" or a charac- ter's dream-like experience. S o m e t i m e s , c o i n c i d e n c e s related to Verdi's Falstaff - which was performed during the 1897 opening - may play a significant role in the nar- rative. The construction account is recounted, documenting the work of architects Gio- v a n B a t t i s t a F i l i p p o Basile, and his son Ernesto - who succeeded him upon h i s d e a t h - a n d b u i l d e r s G i o v a n n i R u t e l l i a n d Alberto Machì. We also find mention of the statues o f t h e t w o l i o n s , o n e b y Benedetto Civiletti, symbol- izing Tragedy, and the other, L y r i c , c r e a t e d b y M a r i o Rutelli, who also had made the bronze quadriga of Apol- lo atop the triumphal arch at Politeama's entrance. The horse pair beside the chariot is Benedetto Civilet- ti's work. There's even a nod to the Sicilian language, utilized in various story segments but conveniently translated in footnotes, preserving and commemorating linguistic roots. Between the pages, the wonder of the unknown is evident. It's a discovery that doesn't offer answers but raises questions. It promotes g r o w t h a n d t o u c h e s t h e heart in places where it's not the dust that brings tears to the eyes. That very dust that today still stands between a visitor to the theater and the m e m o r i e s t h a t a l i t e r a r y challenge can evoke. The story of the Massimo speaks of the will of the city administration of the time to build a temple of art. To do so, it was necessary to tear down an entire neighbor- hood to make way for the 7 , 7 3 0 s q u a r e m e t e r s o n which the building stands. The decision to demolish c o n v e n t s , c h u r c h e s , a n d homes was, of course, not welcomed by everyone. Even a nun who lived in the subse- quently demolished convent, refusing to leave, is said to still wander the palace walls. She's there to carry out her curse of disturbing anyone w h o d o e s n ' t b e l i e v e h e r story. There is no resolution, then, from the stories that are indeed based on histori- cal research. But they are e n v e l o p e d i n l o v e a n d c u r i o s i t y t h a t w i l l n e v e r cease, not just among the Palermo residents but also among those who stumble u p o n r e a d i n g t h e a n o n y - mous, terse phrase. Only the i m a g i n a t i o n c a n a n s w e r those seeking the author of the phrase. In a Pirandellian s e n s e , o n e c o u l d s a y t h e authors might be One, no one, and a hundred thou- sand. TERESA DI FRESCO Located in Piazza Giuseppe Verdi, the Teatro Massimo is the largest Opera House in Italy and the third in Europe (Photo: Leonid Andronov/Dreamstime) LIFE PEOPLE PLACES HISTORY Two or Three Days ... at the Massimo

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