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Latvian National Opera: The Story of a Landmark

The building of the Latvian National Opera and Ballet, affectionately nicknamed the "White House" (Baltais nams), was constructed in 1860 on the site of the Pancake Bastion (Pankūku bastions), a former part of Riga's fortifications. At the time of its completion, it became the first monumental, standalone public building in Riga.

Latvian National Opera: The Story of a Landmark
Latvian National Opera
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The House of the Muses: Opera’s Predecessor

The history of Latvian opera dates back to 1782, with the establishment of the Riga City Theatre. Its 500-seat auditorium was located in a building on Riharda Vāgnera iela 4, designed by architect Christoph Haberland. Known as the “House of the Muses” (Mūzu nams), this theatre was considered one of the finest German theatres outside of Germany.

The building was owned by Baron Otto Hermann von Vietinghoff genannt Scheel, who supported the musical troupe and maintained a symphony orchestra of 24 musicians. From 1837 to 1839, the position of Kapellmeister was held by Richard Wagner, after whom the street and a concert hall were later named.

Latvian National Opera: The Story of a Landmark
Latvia Postage Stamp: Riga City Theater
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Latvian National Opera: The Story of a Landmark
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The Legend of the New Theatre’s Creation

The idea of constructing a new theatre in Riga is, according to legend, attributed to Governor Filippo Paulucci, renowned for his love of opera. The story goes that during a wedding held at the “House of the Muses” in 1829, the building’s ceiling beams could not bear the weight of the gathered guests, causing panic. This incident is said to have inspired Paulucci with the notion that a more spacious and durable theatre was necessary.

While the accuracy of this tale remains uncertain, the concept of building a standalone theatre was already being actively discussed by the mid-19th century. Between 1850 and 1854, several projects were considered, including one by Harald Julius von Bosse, an architect from St. Petersburg. However, these plans were postponed due to the requirement to demolish historical buildings in Riga’s Old Town.

Latvian National Opera: The Story of a Landmark
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New Possibilities on Former Fortress Grounds

The demolition of Riga’s fortress in 1857 marked a pivotal moment in the city’s urban development. This transformation significantly expanded the city’s territory and laid the foundation for modernization. The vacated land was repurposed into a network of parks, a canal, and plots designated for public buildings, including a theatre.

In 1859, the theatre’s design was entrusted to German architect Carl Ferdinand Langhans, but his proposal proved too expensive. An alternative plan by Riga-based architect Friedrich Christian Hess was developed but also failed to gain final approval.

Ludwig Bohnstedt, a professor of architecture from St. Petersburg, presented his design, which received high praise from Riga’s citizens and was approved by the city authorities.

Latvian National Opera: The Story of a Landmark
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The site for the theatre had been designated in the master plan for Riga’s city center redevelopment, prepared by architects Otto Dietze and Johann Daniel Felsko. The design was later refined by architect Julius August von Hagen.

Construction began in 1860, based on Bohnstedt’s project. The work was managed by Riga-based architects Heinrich Karl Scheel and Friedrich Christian Hess. The theatre was completed three years later, becoming the first monumental public building in Riga.

The Latvian National Opera symbolized a new era, reflecting the city’s aspirations to align with European standards of culture and architecture. As Riga’s first monumental public structure, the theatre played a vital role in the city’s cultural integration into the European community and demonstrated its economic growth in the mid-19th century.

Architecture and Décor

The auditorium, with its expansive parterre, balconies, and a stage framed by a grand proscenium arch, drew inspiration from the Italian theatrical style, exemplified by Milan’s La Scala.

The theatre’s design was conceived by Ludwig Bohnstedt, a professor of architecture from St. Petersburg. His vision blended classical elements with a functional layout, focusing on acoustics and audience comfort. The building’s main façade, adorned with a six-column Ionic portico and a sculpted pediment, became the visual centerpiece of the new urban ensemble along the canal. Decorative compositions by Berlin-based artists Hermann Wittig and Hugo Hagen emphasized the building’s cultural significance.

Latvian National Opera: The Story of a Landmark
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Latvian National Opera: The Story of a Landmark
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Local architects Heinrich Scheel and Friedrich Gess played key roles in bringing the project to fruition. Scheel refined the façades and interior layouts, adapting Bohnstedt’s original design to match the available construction resources. Gess oversaw the construction process and ensured the project’s timely completion, enabling the theatre to open in just three years—a remarkable achievement.

Fires, Reconstructions, and Renovations

In 1882, the theatre was severely damaged by a fire caused by a malfunction in the gas lighting system. It was rebuilt in 1887 under the supervision of architect Reinhold Schmaeling. The interior underwent significant changes: the auditorium was heightened, the proscenium arch was deepened, and a fireproof iron curtain was installed between the stage and the audience for improved safety.

Latvian National Opera: The Story of a Landmark
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The decorative work in the new hall was completed by August Volz’s workshop, featuring intricate plasterwork, gilding, cherubs, and theatrical masks. Renaissance-style wall and ceiling panels were crafted by R. Peterson’s studio. Outside, the ensemble was completed with the addition of the “Nymph” fountain, also designed by August Volz, which became the centerpiece of the square in front of the theatre.

Latvian National Opera: The Story of a Landmark
“Nymph” fountain
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The First Steam-Powered Power Plant: Progress and Innovation

Following the fire at the Riga City Theatre, a decision was made to replace gas lighting with electric lighting. Architect Reinhold Schmaeling designed Riga’s first steam-powered power plant, which was integrated with a central heating boiler house. The facility provided electricity not only to the theatre but also to nearby buildings within a 300-meter radius.

This technological innovation had a profound impact on the artistic life of the theatre. The improved lighting of the stage and orchestra pit was particularly appreciated by conductors, who had previously been forced to work in dim conditions. In fact, two conductors had abandoned their careers due to vision problems caused by the poor lighting.

Timm’s Bridge and a New Era

In 1900, a new bridge was built across the city canal near the theatre. Designed by engineer Ivan Krapivyansky and financed by Professor Emilie Timm, the bridge was named in her honor.

The theatre continued its modernization efforts in the early 20th century. New facilities for carpentry workshops were constructed, the roof was repaired, and in 1913, a rotating stage was installed. In December 1911, the theatre was renamed the Riga City German Theatre (Rīgas Pilsētas vācu teātris).

Latvian National Opera: The Story of a Landmark
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Latvian National Opera: The Story of a Landmark
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Under the leadership of composer Pāvuls Jurjāns, the Latvian Opera was established in Riga in 1912. During World War I, the opera evacuated to Russia and returned to Latvia in 1918, led by composer Jāzeps Vītols, a graduate and professor of the Saint Petersburg Conservatory. However, the Latvian Opera lacked its own building. In 1919, it moved into the German Theatre’s building. The first performance took place on January 21, 1919, featuring Richard Wagner’s opera The Flying Dutchman.

December 2, 1919, is considered the founding date of the Latvian National Opera and Ballet. From that point, the building officially adopted its new name. By 1934, the theatre could accommodate 1,240 spectators, and by 1940, it had become the country’s leading musical center, staging up to eight new operas annually and drawing an average of 220,000 visitors each year.

Notably, on April 12, 1920, the theatre hosted a grand celebration for Rainis and Aspazija, commemorating their return from exile.

Latvian National Opera: The Story of a Landmark
Premiere of opera “Baņuta”, 29 May 1920
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Latvian National Opera: The Story of a Landmark
Latvian National Opera, 20th century
theatre-architecture.eu

The Soviet Era: Changes and Restoration

With the advent of Soviet rule in 1940, the theatre was renamed the State Theatre of Opera and Ballet of the Latvian SSR. During World War II, its name changed twice: in 1941, it became the Riga Opera Theatre, only to revert to its Soviet designation in October 1944.

In 1957, nearly five million rubles were allocated for the post-war restoration of the building. The extensive work included replacing and mechanizing stage equipment, modernizing the ventilation system, creating a spacious buffet hall beneath the auditorium, and improving lighting. Decorative paintings in the auditorium were restored, and the façades were renovated.

Latvian National Opera: The Story of a Landmark
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During the 1970s, a large-scale reconstruction of historic opera houses began across the Soviet Union. In Riga, the project was led by the “Pilsētprojekts” institute under the direction of architect Imants Jakobsons. Discussions even arose about constructing a new opera house, but ultimately, it was decided to modernize the existing building.

The reconstruction process spanned decades, with the project’s approval only coming in 1993—two years after Latvia regained independence. By that time, the theatre had already officially reclaimed its status as the Latvian National Opera.

Latvian National Opera: The Story of a Landmark
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Restoration and Modernization

During the research phase preceding the reconstruction, several valuable discoveries were made. Sketches from Schmeling’s project and historical photographs were instrumental in restoring the original chandelier in the auditorium. Elements of wall decor from 1887 were also preserved, serving as the foundation for the restoration process.

However, restoration alone was not sufficient—plans were made to expand the building with a new annex and completely modernize the stage area. The first phase of the large-scale reconstruction was completed in 1995, restoring the historic building and allowing the Latvian National Opera troupe to return to its stage.

Latvian National Opera: The Story of a Landmark
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Completion of the Project and the Present Day

The reconstruction continued until 2001, culminating in the inauguration of a modern annex. The new complex houses facilities for technical and creative staff, as well as the New Hall, designed to accommodate 250–300 spectators.

On June 1, 2015, the theatre officially adopted its current name, the Latvian National Opera and Ballet. Today, the building features two performance venues: the Grand Hall, with 946 seats, and the New Hall. The theatre employs over 600 staff members.

Latvian National Opera: The Story of a Landmark
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Latvia’s musical arts have gained global recognition thanks to celebrated performers such as ballet legends Māris Liepa, Mikhail Baryshnikov, and Alexander Godunov, and opera stars Egils Siliņš, Aleksandrs Antoņenko, Elīna Garanča, Kristīne Opolais, Maija Kovaļevska, and Marina Rebeka.

The Latvian National Opera and Ballet building is one of Riga’s most iconic landmarks, symbolizing the continuity of cultural traditions and the seamless connection between the past and the present.

Latvian National Opera: The Story of a Landmark
Latvian National Opera and Ballet
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Author : editor nbhd
Date: 03.01.25
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