The Place Cagliari, with its exclusive rooms and suites, opens its doors to those wishing to stay in an elegant and discreet atmosphere and to enjoy an atmosphere of refinement. Located in the old town of Cagliari, on the slopes of the ancient Castle,

The Place, is an old nineteenth-century building carefully restored to its former glory. The Place is a perfect destination for those staying for business or tourism. Its strategic location makes it prime location for day trips to the most beautiful beaches in the south of the island from Villasimius to Chia. In the nearby Piazza Matteotti are bus stops for the various seaside resorts and for the Poetto, the famous beach of Cagliari.

B&B Thanit modern and functional apartment in a genteel building in a zone called San Benedetto, the commercial center of Cagliari.

We offer our hospitality and politeness to make you feel in homely environment, this means you will have a Mediterranean breakfast, accurate cleaning of the rooms as well as our willingness to provide you with comfortable stay.

Nearby the B&B you will find Monte Urpinu, the green lung of the city of Cagliari: a perfect place for long walks.

In addition, just a few metres from the B&B, there is bus stop from where you can go to the Old Town Area and the beach of Poetto.

The Teatro Massimo was built between 1944 and 1947 thanks to the Merellos, a family who owned a large plot of land, seat of one among the most advanced mills in Italy (Molino Merello).

Designed by the local architects Oddone Devoto and Emilio Stefano Garau, the Teatro Massimo aimed to be a sort of artistic landmark for the city, which during the war had suffered the painful loss of its historical theatres, namely the Politeama Regina Margherita and the Civic Theatre. In fact, it succeeded very soon, thanks to the high quality of the musical, theatrical and cinematographic shows offered to its spectators.

In the 70's, however, the theatre started its decline, until 1982, when a fire caused by a short circuit led to its closure.
Taken over by the Municipality of Cagliari, the Teatro Massimo was fully restored to its former glory.

Cagliari Opera House was inaugurated in 1993, after a very long construction procedure. The tender notice for the construction of a building aimed to replace the old Civic Theatre, almost completely destroyed by the bombings of World War II, dates back to 1964.

In 1967, the approval of the project designed by the architects Ginoulhiac e Galmozzi from Bergamo, started the construction of the modern building 5,000 square metres wide: foyer, 1650 seats between the stalls and the two galleries, an ample stage and orchestra pit. In the following years, rehearsal rooms, workshops, warehouses and offices were added, finishing the works with the renewal of the foyer and the opening of a bookshop, a cafe and a restaurant.

Cagliari Teatro Lirico, seat of the Foundation of the same name, features concert, opera and ballet seasons all year long. On its stage, together with the Teatro Lirico Orchestra and Chorus, protagonists of many prestigious productions, there have been excellent artists, who have contributed to a substantial revival of musical activities in town. Among others, the orchestra conductors Riccardo Muti, Georges Pretre, Mstislav Rostropovich, Zubin Mehta, Iván Fischer, Carlo Maria Giulini, Vladimir Ashkenazy, Pierre Boulez, Giuseppe Sinopoli, Lorin Maazel, Gennadi Rozhdestvensky, Rafael Frühbeck de Burgos, Neville Marriner, Carlos Kleiber, Valery Gergiev, Trevor Pinnock, Christopher Hogwood; the directors Dario Fo, Beni Montresor, Luca Ronconi, Hennings Brockhaus, Pier Luigi Pizzi, Graham Vick, Denis Krief, Deflo Gilbert, Stephen Medcalf, Giancarlo Cobelli; the soloists Maurice Bourgue, Kashkashian, Murray Perahia, Mikhail Pletnev, Viktoria Mullova, Truls Mørk, Sabine Meyer, Vadim Repin, Yuri Bashmet, Salvatore Accardo, Bruno Canino, Uto Ughi, Trevor Pinnock, Maxim Vengerov, Katia and Marielle Labèque, Julian Rachlin, Fazil Say, Maurizio Pollini; the music complexes of La Scala Philharmonic, London Philharmonic Orchestra, Chamber Orchestra of Europe, Sächsische Staatskapelle Dresden, the Philharmonia Orchestra, the Israel Philharmonic Orchestra, Royal Philharmonic Orchestra, Choir, and symphony des Bayerischen Rundfunk Orchestra, St. Petersburg Philharmonic, Budapest Festival Orchestra, New York Philharmonic

In recent years, the Opera House has also homaged many italian contemporary composers, such as Aldo Clementi, Sylvano Bussotti, Azio Corghi, Marco Tutino, who were commissioned new compositions. Particularly important are the new lyrical productions and the premieres never performed in Italy: Sebastian (from The martyre de Saint-Sébastien by Claude Debussy), Dalibor by Bedrich Smetana, Die Feen by Richard Wagner, Cherevichki Oprichnik by Pyotr Ilyich Tchaikovsky, Die ägyptische Helena and Capriccio by Richard Strauss, Euryanthe by Carl Maria von Weber, A Village Romeo and Juliet by Frederich Delius, Alfonso und Estrella by Franz Schubert, Hans Heiling by Heinrich Marschner, Oedipe by George Enescu, Chérubin by Jules Massenet, Die Vögel by Walter Braunfels, Semyon Kotko by Sergei Prokofiev.

For the quality and innovative nature of its programming, Cagliari Opera House received the 2001 Franco Abbiati prize (section "Initiatives"). Italian music critics have also given a prestigious recognition to Denis Krief and Marcelo Alvarez for Lucia di Lammermoor and to Stephen Medcalf for Carmen, both produced by Cagliari Teatro Lirico in 2000 and in 2005.

- Photo by Priamo Tolu

The Theatre of Saline was built in 1931. It takes its name from the place where it lies, The Saline of Cagliari, near to Molentargius Pond. The Theatre' s style is Art Nouveau: polychrome frescos, baroque paintings, stuccos and decorative patterns. It represents a rare example of theatrical architecture and it was redecorated by the Theatre Company Akròama in 1991. Every year the Theatre hosts meetings, congress and publics and privates events. There is also a library inside the structure.

Is Mirrionis district has its own theatre, inaugurated in 2017 and located inside the church of Sant'Eusebio.

The new theatre is managed by the Company Teatro del Segno, that organises not only shows but also workshops, exhibitions and festivals.

According to the documents, the first theatre in Cagliari was the "University Theatre", a small structure with only thirty loggias and a capacity of about three hundred spectators, built shortly before 1750 at the crossroad between Via Canelles and Via Lamarmora.

In 1764, it was demolished and replaced, shortly before 1770, by the “Royal Theatre” built on the initiative of the Baron Zapata.

Elegant and with a seating capacity of about 600 spectators, it quickly became the heart of cultural and social life in town.

In 1831, by order of King Carlo Felice, it was purchased by the Municipality, renamed "Civic Theatre" and immediately brought back to the top with high level seasons.

Starting from 1859, it had a dangerous competitor: the "Diurnal Theatre" (later called "Cerruti"), built in Viale Regina Margherita, at that time an area strongly expanding, with an almost double seating capacity and the possibility to organize all types of shows.

The Civic Theatre was essentially an Opera House, that rarely and reluctantly organised other types of shows, including prose. Throughout the long period between 1830 and the beginning of the 20th Century, the prose seasons were only a dozen, and performed by companies less valid than the ones meanwhile working at the Cerruti. In the same period, the Civic Theatre never offered operetta and, due to its small size, could not organise real circus shows but only some illusionism events.

In 1897, the Cerruti was substituted by the Politeama, an elegant, vast and multifunctional structure, which started its activity with high profile seasons of opera, operetta and prose.

The Politeama competed with the Civic Theatre for the famous tenor Piero Schiavazzi, who was synonymous with a successful season.

Due to the evidently unsustainable competition with the Politeama, in 1911 the Municipality, sold the Civic Theatre to the company Cadeddu, that turned it into a cinematograph.

It was only under the new management that the Civic Theatre offered some operetta, variety and prose seasons, in addition to the concert seasons started in the early 1920's.

The last opera, I quatro rusteghi by Ermanno Wolf Ferrari, was performed in 1939, in the presence of Umberto and Maria Jose of Savoy.

On 26th February 1943, during one of the devastating bombings on Cagliari, the Civic Theatre was centered by the bombs. Only the foyer and the perimeter walls survived, and that serious loss took place just a few months after the fire that had already destroyed the Politeama on 17th December 1942.

After the recent restoration, accomplished in April 2006, the Civic Theatre has restarted its activities with cultural events, concerts, theatre and cinema.

Research center and experimental theatre, Teatro Alkestis is a cultural space hosting cinema activities, workshops and a library.

Alkestis was inaugurated in 1972, with the aim of realizing two projects: La Cerimonia e il Teatro (The Ceremony and the Theatre) and Il Teatro e le Etnie che si incontrano (Theatre and the Ethnicity meet each other).

The former is an experimental study project, particularly focused on the Turkish Dervish Dancers and on their dancing and singing techniques.

The latter seeks to reacquaint with those aspects of human life that are generally unknown or forgotten, with all those art forms that can enrich individual and group experiences and creatively re-establish a deep continuity between our modern culture and other cultures from different ages and places, with special attention to the relationships between Sardinia and the countries of the Mediterranean basin.

(http://www.teatroalkestis.it/)

A series of fourteen artistic sculptures, depicting the Passion of Jesus, placed outside the churches of the four historical districts of Cagliari.

Promoted by Monsignor Ernesto Maria Piovella, archbishop of Cagliari from 1920 to 1949, the town's Via Crucis consists of fourteen artistic bas-reliefs on iron plates, placed on the facades of churches and palaces of the historic districts of Marina, Villanova, Castello and Stampace.


The fourteen stations:

I: Christ sentenced to death.
Church of S. Rosalia / Sanctuary of S. Salvatore da Horta
Turin Street

II: Christ loaded with the cross.
Church of S. Giacomo
S. Giacomo square

III: Christ falls for the first time under the cross.
Missing original *

IV: Christ meets the mother.
Church of S. Cesello
S. Giovanni Street

V: Christ helped by S. Simone di Cirene.
Church of S. Mauro
S. Giovanni Street

VI: St. Veronica cleanses the face of Christ.
Palace of the Conservatory of Providence
Independence square

VII: Christ falls for the second time under the cross.
Archbishop's Palace
Palazzo square

VIII: Christ warns the women of Jerusalem.
Church of S. Croce
S. Croce square

IX: Christ falls for the third time under the cross.
Church of S. Giuseppe
S. Giuseppe square

X: Christ stripped of his clothes.
Church Madonna della Pietà / Monastery of the Holy Sepulchre
Capuchin Nuns ladders

XI: Christ nailed to the cross.
Missing original **

XII: Christ died on the cross.
Church of S. Agostino
Baylle Street

XIII: Christ deposed from the cross.
Church of S. Sepolcro
S. Sepolcro Square

XIV: Body of Christ deposited in the Sepulchre.
Church of S. Rosalia / Sanctuary of S. Salvatore da Horta
Turin Street


Notes:
* Originally located on the facade of the church of S. Domenico, destroyed by bombing in 1943. In the 1950s it was replaced by a walled reproduction in a building in front of the church. Disappeared in the late seventies.
** Originally located on the facade of the church of S. Anna. It was probably destroyed by the bombings of 1943, in the fifties it was replaced by a reproduction, visible on the corner between Azuni street and S. Efisio street.

A modern building of an unmistakable white color, the Station "Repubblica" is accessible both from the square and from Via Dante.

"Repubblica" is the light rail Metro terminal and houses a ticket office and an information desk.
The stops, equipped with bright displays, speakers, video surveillance systems and stainless steel benches, are accessible to people with reduced mobility.