Guangzhou Opera House

Municipal opera house in Guangdong, China From Wikipedia, the free encyclopedia

Guangzhou Opera House (广州大剧院) is a public municipal opera house in Guangzhou, Guangdong, China. Designed by Zaha Hadid, it opened on 9 May in 2010.

StatusCompleted
Architectural styleDeconstructivism
LocationGuangzhou, Guangdong, China
Coordinates23.117904°N 113.317055°E / 23.117904; 113.317055
Quick facts General information, Status ...
Guangzhou Opera House
广州大剧院
Interactive map of the Guangzhou Opera House area
General information
StatusCompleted
Architectural styleDeconstructivism
LocationGuangzhou, Guangdong, China
Coordinates23.117904°N 113.317055°E / 23.117904; 113.317055
GroundbreakingJanuary 2005[1]
InauguratedMay 9, 2010
Cost1.38 billion yuan (approx. US$200 million)
Technical details
Floor areaapprox. 71000 m2
Design and construction
ArchitectZaha Hadid
Other information
Seating capacity1804 (Opera Hall)
Website
www.gzdjy.org
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History

Guangzhou Opera House in Zhujiang New Town

In April 2002 an international architectural competition attracted Coop Himmelb(l)au, Rem Koolhaas and Zaha Hadid – each producing detailed designs.[2][3] In November 2002, Zaha Hadid's "double pebble" was announced the winner and the groundbreaking ceremony was held early in 2005.[1]

The theatre has become the biggest performing centre in southern China and is one of the three biggest theatres in the nation alongside Beijing's National Centre for the Performing Arts and Shanghai's Shanghai Grand Theatre.[4] May 2010 saw American filmmaker Shahar Stroh direct the premiere production of the opera house: Puccini's opera Turandot[1] which had in previous years been a controversial opera in China.[5]

The project cost 1.38 billion yuan (approx. US$200 million).[6][7]

Design

The structure was designed by Iraqi architect Zaha Hadid.[8] It is conceived as two rocks washed away by the Pearl River.[9] Its freestanding concrete auditorium set within an exposed granite and glass-clad steel frame took over five years to build, and was praised upon opening by architectural critic Jonathan Glancey in The Guardian, who called it "at once highly theatrical and insistently subtle."[10]

See also

References

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