Don't call them antiquity

Real night, between music and beauty

[Tripper: Paola]

IT

When you approach an evening without too much conviction, guided by the wrong idea of ​​what the experience has in store for us, wonder knows how to strike at the fullest of its strength.
We are in front of the royal palace of Turin, a familiar destination that is part of our daily panorama, but this time we are about to enter the evening event organized by Club Silencio , whose mission is precisely to sensitize the population to the beauty and cultural heritage of the Italian territory.

Roman theatre

Royal palace

We enter accompanied by Enrico Zanellati, guide for Somewhere Tour profound connoisseur of history and art, as well as head of relations exterior for the Albertina Academy.
And this is the difference between an independent visit, even if documented in advance, and a guided tour by a director who becomes a storyteller.
The renewed beauty of the place, with the completion of the restoration of the seventeenth-century fountain of the Nereids and the Tritons, the lighting designed ad hoc to emphasize without disturbing, the restoration of the archaeological area of ​​the Roman Theater and the basement of the Museum of Antiquities, would be enough to give value to the visiting experience.
However, when the words accompany the sight and help to focus attention on the details, they manage to animate what appears dead and the experience surpasses itself, it is enriched with meanings and injects into the circulation a feeling of pride towards the cultural heritage of our country, which is precisely what should be pursued with constancy.
But don't call them antiquity: here the past delivers its incredible tales to the present, in a narrative continuum that cannot relegate anything to a concept of remote, happened and finished forever.
Layers of history overlap in intertwined constructions, born within and above each other, an architectural mixture that describes the glories of all times. Sitting on the steps of the cavea of ​​the Roman theater, Enrico invites us to imagine the Roman population of two thousand years ago, going to this place to enjoy the show, to discuss politics, art and science. The imagination pushes us further, projecting us into a future where the moderns of those times reiterate the gesture thinking about our time.

We elect the large black marble stone placed in the garden as a symbol of this continuous coming and going of time. The large stone, apparently insignificant, is filled with meaning when the storyteller Enrico makes it attractive to the eye.
As in the seventeenth century Guarino Guarini supplied himself to the Frabosa Soprana quarry for the materials of the shroud chapel, after the fire in April 1997 it was necessary to reopen the quarry, now abandoned, to recover the materials for the restoration.
In this story there is our invitation, without delay, to regain possession of these spaces returned to citizenship, and to do so with the live story of a skilled storyteller.