History of the Theatre

BRIEF HISTORY OF THE TEATRO REAL

The Teatro Real in Madrid is one of Spain’s iconic cultural institutions and one of the leading opera houses in Europe. Standing opposite the Royal Palace, in the heart of the capital, it has witnessed more than two centuries of political, artistic and architectural history. From its foundation in the 19th century to its consolidation as a leading international opera house in the 21st, it has reflected the country’s cultural development.

Background: The Real Teatro de los Caños del Peral (1738-1817)

The origin of the Teatro Real on its current site goes back to 1738, during the reign of Philip V, when, on 16 February, the Real Teatro de los Caños del Peral was opened. The inaugural performance was the opera Demetrio, composed by Johann Adolph Hasse, with libretto by the famous Pietro Metastasio.

The theatre took its name from the Caños del Peral, a public laundry facility in the area, which formed part of Madrid’s old water system fed by underground springs. What was then a marginal district of the city ended up becoming an important cultural enclave intended to give the capital a decent venue for performing operas and musical shows that were increasingly in demand among the expanding Madrid bourgeoisie.

Throughout its history, the theatre put on operas by well-known Italian composers like Pergolesi, Paisiello and Cimarosa, as well as works by Spanish composers, many of them marked by the influence of the Italian style. It also provided a venue for zarzuelas (Spanish light operas), masked balls, comedies and musical dramas, becoming established, despite its modest architecture and intermittent operation, as the principal musical theatre in Madrid for several decades.

In 1813, even though the building had been declared a ruin some years earlier, it became the exceptional venue for sessions of the Constituent Assembly of Cadiz, provisionally transferred from San Fernando to Madrid. This parliamentary activity continued for several months, in the first legislature, before it was transferred to the Monastery of Doña María de Aragón, now the home of the Senate.

In 1816, the architect Antonio López Aguado, reported that the building was an irrecoverable ruin because of an underground stream. Demolition work was carried out between October 1817 and April 1818. Musical theatre then moved to the Teatro del Principe and the Teatro de la Cruz, which had regular opera seasons until the Teatro Real opened in 1850. 
 

Foundation and construction of the Teatro Real (1817-1850)

In 1817, an ambitious urban transformation of the centre of Madrid was carried out by order of King Ferdinand VII: the remodelling of Plaza de Oriente – an area which had to be visually and architecturally harmonised with the nearby Royal Palace. The architect Isidro González Velázquez was commissioned to carry out the scheme, defining the perimeter and general layout of the square. However, responsibility for designing the future theatre fell to Antonio López Aguado, who had to adapt his proposal to the limits previously laid down by González Velázquez. This circumstance strongly conditioned the shape of the building, giving rise to its peculiar floor plan in the shape of a coffin or irregular hexagon, a unique feature that even today defines its silhouette.

In 1818, work on the Teatro Real officially began by royal order. However, the construction process was a long, complex one, affected by frequent interruptions due to lack of money, political instability and other administrative setbacks typical of Spain’s turbulent 19th century. After López Aguado’s death in 1831, the project was taken up and continued by the architect Custodio Teodoro Moreno, who respected the general lines established by his predecessor and managed to keep the works going.

Despite slow progress, some parts of the building were opened for use before the whole theatre was complete. The ballroom was finished in 1835 and began to be used for social and cultural celebrations, especially the popular Carnival masked balls. So, the theatre began to have a public life of its own even before it was officially opened. In 1841, the building also took on an institutional function once again: for a brief period it hosted the sessions of the Congress of Deputies while their normal parliamentary home was renovated, reflecting the versatility and symbolic and strategic importance it had enjoyed since its origins.

The official opening of the Teatro Real took place on 19 November 1850, coinciding with the birthday of Queen Isabella II, a great promoter of the project. The opera La favorite, by the Italian composer Gaetano Donizetti, was chosen for the occasion. The Teatro Real then began a golden age that would continue for more than 70 years as it became one of the great opera houses of Europe. The top international singers performed there, the most famous composers were heard, and the highest quality productions were seen.

Crisis and closure (1925-1966)

After the 1868 Revolution and exile of Queen Isabella II, the theatre lost its royal status and was rechristened the Teatro Nacional de la Ópera. This change began a new era for the building which went through many ups and downs during the 20th century amid a complex political, social and economic situation. A key point came in 1925, when a structural collapse inside the building forced the suspension of all activities and its indefinite closure was decreed. Although consolidation work began shortly afterwards, the process was slow, lengthy and irregular: it took more than four decades before it could be reopened as an opera house.

During the Spanish Civil War (1936–1939), the Teatro Real suffered serious new damage. A gunpowder store established inside it exploded, worsening its fragile structural state. After the war, the unstable economic conditions in the country prevented serious restoration being undertaken. So the building remained closed, damaged and without regular use and this also affected the collections of the Theatre Museum, which had been provisionally housed in its buildings. This valuable theatrical heritage, including costumes, sets, scores, documents and objects with great historical value, was poorly preserved, dispersed and even partially lost. It was not until the current National Theatre Museum was set up in Almagro, decades afterwards, that this legacy found a final home that allowed it to be classified, stored and developed.

From theatre to conservatory: a new provisional function (1966-1988)

In 1966, after more than 40 years of inactivity as a theatrical venue, the Teatro Real was finally reopened, but not as an opera house. Instead, it began to operate as a concert hall, and for several years it housed the Higher Royal Conservatory of Music and the College of Dramatic Art, taking on a new role as a centre for musical education and popularisation.

The last concert of this transitional stage was held on 13 October 1988, performed by the Spanish National Orchestra and Choir conducted by Jesús López Cobos. As a symbolic gesture, the programme repeated the same repertoire with which the theatre had been reopened in 1966: Homenajes, by Manuel de Falla, and Beethoven’s Ninth Symphony. This put an end to a cycle that had kept musical activity alive in the building while it awaited recovery as an opera house.

Renovation as an opera house and reopening (1988-1997)

After decades of abandonment and provisional use, full renovation work on the Teatro Real began on 2 January 1991, with the clear aim to return it to its original function as a great national opera house. This ambitious architectural project involved a complete transformation of the building, respecting its historical value but providing it with modern infrastructures, cutting-edge stage technology and acoustics in line with the highest international standards.

The architect José Manuel González Valcárcel, a key figure in restoring Spanish heritage, initially took on the management of the project. After his death, the works were continued and completed by Francisco Rodríguez de Partearroyo, who respected the original design and introduced functional improvements necessary for modern use.

The renovation continued for almost seven years, during which the main auditorium was reconstructed, the stage area was modernised, the orchestra pit was expanded and new technical and administrative facilities were included. The result was an entirely renovated building capable of competing with the great opera houses of Europe on both artistic quality and technical capacity.

On 11 October 1997, in the presence of Their Majesties King Juan Carlos and Queen Sofía, the Teatro Real officially opened its doors as an opera house. The opening was marked by a programme entirely devoted to Manuel de Falla, with a performance of the opera La vida breve and the ballet The Three-Cornered Hat, two fundamental Spanish musical works of the 20th century. A week later, the Madrid theatre hosted the world premiere of Divinas palabras, an opera by the composer Antón García Abril, based on the drama of the same name by Valle-Inclán. With this contemporary production, the Teatro Real confirmed its commitment not only to the classical repertoire but also to modern opera, opening up a new era in Spanish musical theatre history.

Consolidation as a leading theatre (1997-Present) 

Since it reopened as an opera house in 1997, the Teatro Real has firmly and consistently moved towards artistic excellence and institutional innovation, becoming one of the leading cultural beacons in Europe and the principal opera house in Spain. This consolidation has been marked by effective management, an ambitious international profile and an unbending commitment to contemporary creativity, accessibility and sustainability.

World premieres

Since it reopened in 1997, the Real has hosted 16 opera world premieres: Don Quijote, by Cristóbal Halffter (2000); La señorita Cristina, by Luis de Pablo (2001); Dulcinea, by Mauricio Sotelo (2006); El viaje a Simorgh, by José María Sánchez Verdú (2007); Faust-Bal, by Leonardo Balada (2009); La página en blanco, by Pilar Jurado (2011); Poppea e Nerone, by Monteverdi-Boesmans (2012); The Perfect American, by Philip Glass (2013); Brokeback Mountain, by Charles Wuorinen (2014); El Público, by Mauricio Sotelo (2015); La ciudad de las mentiras, by Elena Mendoza (2017); El pintor, by Juan José Colomer (2018); Je suis narcissiste, by Raquel García-Tomás (2019); Marie, by Germán Alonso (2020); Tránsito, by Jesús Torres (2021), El abrecartas, by Luis de Pablo (2022); Extinción, by Agrupación Señor Serrano (2022); La regenta (2023), by María Luisa Manchado; and Tejas verdes (2025), by Jesús Torres.

Institutional stability

A decisive moment in the development of the Teatro Real was the appointment of Gregorio Marañón as chair of the board in 2007. This marked the consolidation of a model of stable, autonomous governance in line with the standards of Spain’s great cultural institutions. Coinciding with the start of the economic crisis and under the initiative of the Ministry of Culture, a new operating system was established, granting the Teatro Real greater management independence. Among the principal measures was the appointment of a chair of the board proposed by the Minister of Culture and chosen from its independent members, with renewable five-year periods in office. Since then, the Teatro Real has undergone a sustained, far-reaching transformation that has had a positive impact in all areas of its activity, from the artistic excellence of its programme to its promotion of educational, social, technological and international projection projects.

International coproductions and artistic prestige

Another key element of its consolidation has been the active policy of coproductions with the principal opera houses of the world, such as the Royal Opera House in London, the Opéra National in Paris, the Staatsoper in Berlin, the Teatro alla Scala in Milan, the Metropolitan Opera in New York and the Liceu in Barcelona. These alliances have made it possible to share large-format productions and consolidate the Real’s prestige as a reliable, creative coproducer.

Cultural diversification and cross-disciplinary projects

Beyond its opera programme, over the last few years the Teatro Real has developed an ambitious strategy of cultural diversification and attraction of new audiences. One example is the Flamenco Real cycle, begun in 2018, which has brought some of the most important figures in flamenco to the Madrid theatre. 

Along similar lines, the Teatro Real offers a regular programme of chamber concerts, symphonic music, dance, and vocal recitals, including cycles like Chamber Sundays and Voices from the Real. The commitment to education and critical thought also occupies a central place. Initiatives like University Onstage, Opera Uncovered and Understanding... seek to bring a young and adult audience closer to artistic creativity in terms of education, reflection and participation.

Among the most unusual projects is the Real Carriage, a mobile stage structure travelling around squares, districts and municipalities all over Spain taking micro-operas and recitals on to the street. This approach makes it possible to democratise access to opera, talking it away from the big stages and promoting public participation all over Spain.

Digitisation and innovation: My Opera Player

In 2019, the Teatro Real launched the My Opera Player digital platform, a pioneering service for streaming opera, dance and concerts. This makes it possible to extend the theatre’s scope beyond its walls. During the COVID-19 pandemic, this tool was crucial for maintaining cultural activity and connecting with spectators all over the world, strengthening the theatre’s international dimension. The platform has become established as a global window on Spanish opera production.

Recognition and awards

The Teatro Real’s prestige has been backed by many international awards and distinctions. In 2021, it was recognised as the Best Opera Company in the world at the International Opera Awards. 

Real Teatro de Retiro: a venue for new generations

In 2022, the Teatro Real took another step towards educating new audiences with the opening of the Real Teatro de Retiro, a stable theatrical venue devoted entirely to audiences of young people and children. This new theatre makes it possible to schedule adapted operas, family shows, interdisciplinary entertainments and participatory workshops.

Commitment to sustainability: solar panel roof

The Teatro Real confirmed its commitment to sustainability by installing a high-efficiency solar panel roof architecturally integrated into the historic building. This notable reduces the theatre’s energy consumption, making it one of the first heritage theatres to follow a self-generated energy model. The project forms part of an integrated policy of energy efficiency, waste reduction, improved accessibility and respect for the heritage environment.