In 1821, on behalf of the Duchess Maria Luigia, Nicola Bettoli initiated the building of the new Teatro Ducale in the convent of s. Alessandro. The theatre was completed in 1828 and inaugurated on May 16, 1829 opera Zaira composed for the occasion by Vincenzo Bellini. Theatre, then called Royal, still represents a significant example of the many and impressive speeches made by the Duchess. It rose in the heart of the city, divided into a central body and two lateral wings attached to the Doge's Palace and the Church of s. Alessandro, Yes to become a place of reference and aggregation in the life of the city itself, according to G.B. Niccolosi, for which "no less scenic performances to the appropriate architecture to Theater times and customs" (g. b. Niccolosi , 1829, p. 10). the neoclassical façade has a portico with ionic columns surmounted by two bands. In the first five timpanate Windows are placed at the intercolumni below, in the second a thermal window flanked by two elegant pictures of Fame, Tommaso Bandinelli, bas-reliefs, as well as the decoration with cetra and gargoyles that modulates the tympanum crowning place of the building. The two lateral bodies are arrears and resolved only two orders. The square vestibule of the theatre has a coffered ceiling supported by ionic columns and introduces the audience to the Horseshoe with four tiers of boxes, with their dressing rooms, and a gallery. Extensive and well-equipped stage, particularly elegant reduced covered by a painted by g. b. Azzi, who has depicted the harmony with the Bacchae and Cupids, which alongside the stuccoes and adorned by p. Smit, g., g., t. Ice Bandini and c. Rusca. On the walls are the fake bas-reliefs of mythological subject by s. Bell. Hall originally had a refined classical decoration, how to document the engravings of Tan. Each order of boxes had different stucco decorations: bottom lined up military trophies, then the story of psyche, medallions with portraits of poets, garlands of flowers and fruits. The proscenium stages were more richly decorated with pictures of Fame supporting acanthus trophies and portraits of famous men; in arcoscenico a light clock was placed between the attributes of Phoebus and Minerva. The transformation of Hall, began at the behest of Charles III of Bourbon, in 1853; I worked the architects Louis Maldonado and Louis Bailey and production designer Girolamo Magnani, appointed in that year, painter and theatre director. The ornate neo-classical Hall were replaced with other more rich and sumptuous, and the ceiling, already painted by Giovan Battista Borghesi, who had represented the stars of the scene of modern and ancient in flight at the bottom of a starry sky, were placed a purple headband and a frieze in Golden frames. Remained intact the beautiful curtain instead of Giovan Battista Borghesi, still extant, which represented the triumph of Pallas. After electrification, introduced in 1907 and the creation of the mystical Gulf in 1926, the theatre underwent no substantial changes until 1983, when they started the necessary work of conservative restoration and rehabilitation conducted "open theatre" , without interruption, for all of the 1990s. The overall project, developed by the Municipal Technical Office, has accomplished, in successive batches, the structural consolidation of the masonry vaults and roofs; the renovation of the old Hall of set designers and spaces of the scenic Tower; the restoration of boxes, balconies, the foyer and the smoking room. Other interventions focused on the recovery of spaces for artists and workers, as well as the development of standard safety equipment.