{"id":3708,"date":"2024-05-17T08:52:43","date_gmt":"2024-05-17T08:52:43","guid":{"rendered":"https:\/\/www.breradesigndistrict.it\/?p=3708"},"modified":"2024-05-28T08:26:36","modified_gmt":"2024-05-28T08:26:36","slug":"","status":"publish","type":"post","link":"https:\/\/www.breradesigndistrict.it\/en\/news\/curiosita\/palazzo-lombardo\/","title":{"rendered":"Palazzo Lombardo","raw":"Palazzo Lombardo"},"content":{"rendered":"\n
\n

A century between Milanese Art Nouveau and Italian Operetta<\/h2>\n<\/div>\n\n\n\n

The history of this noble Milanese residence began in 1907, with the renovation of a 19th-century building commissioned by Giuseppe Pirola. At the time, it was only a warehouse for vehicles and grain linked to agricultural activities in the Milanese countryside, no more than a couple of kilometres away, beyond the Spanish walls. The area, overlooking the terracing of the Sforza Castle, was under the spiritual jurisdiction of the basilica of San Simpliciano and was crossed by the road artery to Como (the Borgo di Porta Comasina). <\/p>\n\n\n\n

The palace as we see it today, however, is the result of a subsequent, radical, artistic modernisation of that building, financed and undertaken by the Neapolitan nobleman Carlo Lombardo dei Baroni di San Chirico in the mid-1920s. <\/p>\n\n\n\n

Arrived in Milan at the end of the 19th century, Lombardo was already a prominent personality in the musical field, encouraged in his career by Johann Strauss’ son. He became an operetta composer, librettist and chose this Palazzo as the headquarters of his Music Publishing House, founded a few years earlier in 1918. The work was completed in 1926 and from then on, until the outbreak of World War II, the most important national operetta heritage was stored here. <\/p>\n\n\n\n

This is where the protagonists of the great Italian operetta would meet and where the original scores of famous operettas such as Cin Ci La (1925)<\/em>, La casa innamorata (1929)<\/em> or the even more famous Paese dei Campanelli (1923)<\/em> staged for the first time at the iconic Teatro Lirico Internazionale have been preserved. The building was modernised in a style reminiscent of the eclecticism of the early 20th century, winking at Milanese Art Nouveau and Neoclassicism. A wooden entrance door, embellished with high-reliefs, leads into a hallway that echoes the dancing decorative motifs of the fa\u00e7ade, but is complemented by wrought-iron chandeliers and splendid stained-glass windows (partially damaged during World War II) made by the artistic glassworks of Salvatore Corvaya and Carlo Bazzi of Milan. The heraldic coat of arms of the Lombardo family, from which Carlo had taken his famous pseudonym: Leon Bard (due to the presence of a Lion) can still be found in this room. The hallway leads to a courtyard, in which there was an OTIS lift, one of the first installed outdoors in Milan (also damaged during the war).\u00a0<\/p>\n\n\n\n

An inscription in Latin runs along the interior facades “Gloriam Ausoniae, Musa Cantu, Per Orbem Terram”<\/em>, a metaphor with which Lombardo expresses his desire to glorify Italy, through music, for the whole world. <\/p>\n","protected":false,"raw":"\n\n\n

The history of this noble Milanese residence began in 1907, with the renovation of a 19th-century building commissioned by Giuseppe Pirola. At the time, it was only a warehouse for vehicles and grain linked to agricultural activities in the Milanese countryside, no more than a couple of kilometres away, beyond the Spanish walls. The area, overlooking the terracing of the Sforza Castle, was under the spiritual jurisdiction of the basilica of San Simpliciano and was crossed by the road artery to Como (the Borgo di Porta Comasina). <\/p>\n\n\n\n

The palace as we see it today, however, is the result of a subsequent, radical, artistic modernisation of that building, financed and undertaken by the Neapolitan nobleman Carlo Lombardo dei Baroni di San Chirico in the mid-1920s. <\/p>\n\n\n\n

Arrived in Milan at the end of the 19th century, Lombardo was already a prominent personality in the musical field, encouraged in his career by Johann Strauss' son. He became an operetta composer, librettist and chose this Palazzo as the headquarters of his Music Publishing House, founded a few years earlier in 1918. The work was completed in 1926 and from then on, until the outbreak of World War II, the most important national operetta heritage was stored here. <\/p>\n\n\n\n

This is where the protagonists of the great Italian operetta would meet and where the original scores of famous operettas such as Cin Ci La (1925)<\/em>, La casa innamorata (1929)<\/em> or the even more famous Paese dei Campanelli (1923)<\/em> staged for the first time at the iconic Teatro Lirico Internazionale have been preserved. The building was modernised in a style reminiscent of the eclecticism of the early 20th century, winking at Milanese Art Nouveau and Neoclassicism. A wooden entrance door, embellished with high-reliefs, leads into a hallway that echoes the dancing decorative motifs of the fa\u00e7ade, but is complemented by wrought-iron chandeliers and splendid stained-glass windows (partially damaged during World War II) made by the artistic glassworks of Salvatore Corvaya and Carlo Bazzi of Milan. The heraldic coat of arms of the Lombardo family, from which Carlo had taken his famous pseudonym: Leon Bard (due to the presence of a Lion) can still be found in this room. The hallway leads to a courtyard, in which there was an OTIS lift, one of the first installed outdoors in Milan (also damaged during the war).\u00a0<\/p>\n\n\n\n

An inscription in Latin runs along the interior facades \"Gloriam Ausoniae, Musa Cantu, Per Orbem Terram\"<\/em>, a metaphor with which Lombardo expresses his desire to glorify Italy, through music, for the whole world. <\/p>\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":2,"featured_media":3711,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_it_post_content":"\n\n\n

La storia di questa nobile residenza milanese ha inizio nel 1907, con i lavori di rifacimento di un immobile ottocentesco voluti da Giuseppe Pirola. All\u2019epoca era solo un deposito per mezzi e granaglie legato alle attivit\u00e0 agricole della campagna milanese, distante non pi\u00f9 di un paio di chilometri, oltre le mura spagnole. La zona, affacciata sul terraggio del Castello Sforzesco, era posta sotto la giurisdizione spirituale della basilica di San Simpliciano ed era attraversata dall\u2019arteria stradale per Como (il Borgo di Porta Comasina). <\/p>\n\n\n\n

Il Palazzo, come lo vediamo oggi, \u00e8 per\u00f2 frutto di un successivo, radicale, ammodernamento artistico di quell\u2019immobile, finanziato e intrapreso dal nobile napoletano Carlo Lombardo dei Baroni di San Chirico alla met\u00e0 degli anni Venti. <\/p>\n\n\n\n

Giunto a Milano alla fine dell\u2019Ottocento, il Lombardo era gi\u00e0 una personalit\u00e0 di spicco nel campo musicale, incoraggiato alla carriera dal figlio di Johann Strauss. Divenne compositore d\u2019operetta, librettista e scelse questo Palazzo come sede della sua Casa Editrice Musicale, fondata pochi anni prima, nel 1918. I lavori furono completati nel 1926 e da quel momento, fino allo scoppio della Seconda Guerra Mondiale, era qui depositato il pi\u00f9 importante patrimonio operettistico nazionale. Qui si sarebbero potuti incontrare i protagonisti della grande operetta italiana e qui sono stati conservati gli spartiti originali di celebri operette come Cin Ci La (1925)<\/em>, La casa innamorata (1929)<\/em> o l\u2019ancor pi\u00f9 celebre Paese dei Campanelli (1923)<\/em> messe in scena per la prima all\u2019iconico Teatro Lirico Internazionale. <\/p>\n\n\n\n

Il palazzo fu ammodernato in uno stile che richiama i canoni dell\u2019eclettismo del primo Novecento strizzando l\u2019occhio al Liberty milanese e al Neoclassico. Un portone d\u2019accesso in legno, impreziosito da altorilievi, immette in un androne che riprende i motivi decorativi danzanti della facciata ma a cui si aggiungono lampadari in ferro battuto e delle splendide vetrate (rimaste parzialmente danneggiate durante la Seconda Guerra Mondiale) realizzate dalla vetreria artistica di Salvatore Corvaya e Carlo Bazzi di Milano. In questo ambiente si pu\u00f2 ancora trovare lo stemma araldico della famiglia Lombardo, da cui Carlo aveva tratto il suo celebre pseudonimo: Leon Bard (per la presenza, appunto, di un Leone). Dall\u2019androne si accede a un cortile, in cui era presente un ascensore della OTIS, uno dei primi installati all\u2019aperto a Milano (anch\u2019esso danneggiato durante la guerra).
Una scritta in latino corre lungo le facciate interne \u201cGloriam Ausoniae, Musa Cantu, Per Orbem Terram\u201d<\/em>, una metafora con la quale Lombardo manifesta il suo desiderio di glorificare l\u2019Italia, per mezzo della musica, per tutto il mondo. <\/p>\n","_it_post_name":"palazzo-lombardo","_it_post_excerpt":"","_it_post_title":"Palazzo Lombardo","_en_post_content":"\n\n\n

The history of this noble Milanese residence began in 1907, with the renovation of a 19th-century building commissioned by Giuseppe Pirola. At the time, it was only a warehouse for vehicles and grain linked to agricultural activities in the Milanese countryside, no more than a couple of kilometres away, beyond the Spanish walls. The area, overlooking the terracing of the Sforza Castle, was under the spiritual jurisdiction of the basilica of San Simpliciano and was crossed by the road artery to Como (the Borgo di Porta Comasina). <\/p>\n\n\n\n

The palace as we see it today, however, is the result of a subsequent, radical, artistic modernisation of that building, financed and undertaken by the Neapolitan nobleman Carlo Lombardo dei Baroni di San Chirico in the mid-1920s. <\/p>\n\n\n\n

Arrived in Milan at the end of the 19th century, Lombardo was already a prominent personality in the musical field, encouraged in his career by Johann Strauss' son. He became an operetta composer, librettist and chose this Palazzo as the headquarters of his Music Publishing House, founded a few years earlier in 1918. The work was completed in 1926 and from then on, until the outbreak of World War II, the most important national operetta heritage was stored here. <\/p>\n\n\n\n

This is where the protagonists of the great Italian operetta would meet and where the original scores of famous operettas such as Cin Ci La (1925)<\/em>, La casa innamorata (1929)<\/em> or the even more famous Paese dei Campanelli (1923)<\/em> staged for the first time at the iconic Teatro Lirico Internazionale have been preserved. The building was modernised in a style reminiscent of the eclecticism of the early 20th century, winking at Milanese Art Nouveau and Neoclassicism. A wooden entrance door, embellished with high-reliefs, leads into a hallway that echoes the dancing decorative motifs of the fa\u00e7ade, but is complemented by wrought-iron chandeliers and splendid stained-glass windows (partially damaged during World War II) made by the artistic glassworks of Salvatore Corvaya and Carlo Bazzi of Milan. The heraldic coat of arms of the Lombardo family, from which Carlo had taken his famous pseudonym: Leon Bard (due to the presence of a Lion) can still be found in this room. The hallway leads to a courtyard, in which there was an OTIS lift, one of the first installed outdoors in Milan (also damaged during the war).\u00a0<\/p>\n\n\n\n

An inscription in Latin runs along the interior facades \"Gloriam Ausoniae, Musa Cantu, Per Orbem Terram\"<\/em>, a metaphor with which Lombardo expresses his desire to glorify Italy, through music, for the whole world. <\/p>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"Palazzo Lombardo","edit_language":"en","footnotes":""},"categories":[827],"tags":[891],"class_list":["post-3708","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-curiosita","tag-palazzi-storici"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/3708"}],"collection":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/comments?post=3708"}],"version-history":[{"count":14,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/3708\/revisions"}],"predecessor-version":[{"id":3933,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/posts\/3708\/revisions\/3933"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media\/3711"}],"wp:attachment":[{"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/media?parent=3708"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/categories?post=3708"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.breradesigndistrict.it\/en\/wp-json\/wp\/v2\/tags?post=3708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}