Prague The original appearance of the theatre was captured in the series of engravings made by the Heger brothers, published to commemorate the coronation of Leopold II as the King of Bohemia in September 1791. The celebration included the premiere performance of W. A. Mozart’s opera La Clemenza di Tito (engraving by Jan Berka after a drawing made by Filip and František Heger). The Estates Theatre was built on the bustling square known as the Fruit Market (Ovocný Trh). In the foreground of his engraving from c. 1835, the artist Vincenc Morstadt portrays the porters who transported the scenery that was stored at the defunct V Kotcích Theatre due to a lack of space in the new theatre. The drawing by the theatre artist Tobias Mössner from 1838 shows the theatre auditorium after the new gallery was added in 1834 but prior to the additional modifications made during the second half of the 19th century. The partition in the stalls separates the first rows from the standing room in the rear. The theatre stands close to the Karolinum, which is the seat of the Charles University. Prior to the time that an additional level was added to the building in the 19th century, it was not much taller than the university buildings (engraving by Jan Berka, c. 1790). The theatre was modified several times during the 19th century; its height was increased and the building was expanded. The scope of these changes can be seen in the comparison of the original ground plan (at the top) with the ground plan after the modifications in 1882. MNICHOVO HRADIŠTĚ STAVOVSKÉ DIVADLO Kačina Litomyšl Český Krumlov Weitra (Vitoraz) Grein Theatre an der Wien Graz – SchauspielHAUS Graz – OPERA History During intermissions, members of the audience may use the small salon with decorations dating back to the second half of the 19th century. Photo: National Theatre During the reconstruction in the 1980s, all of the audience spaces were renovated, including the hallways in the auditorium. The elaborate interior decorations include reliefs on the boxes and galleries. The high-ceiling auditorium is divided into five sections: the orchestra seats and boxes on the ground floor, two balconies (divided into smaller boxes after reconstruction), and two galleries. Photo: National Theatre The theatre auditorium after the reconstruction in the 1980s. The painted decorations date back to 1874. Photo: National Theatre Interior Barokní perspektivu na malovaných prospektech využil v inscenaci Mozartovy Kouzelné flétny v roce 2015 také režisér Vladimír Morávek. Scénografie: Martin Ondruš a Miroslav Huptych, foto: Viktor Kronbauer Director Vladimír Morávek also used a Baroque perspective and painted backdrops for his staging of Mozart’s The Magic Flute in 2015. Production design by Martin Ondruš and Miroslav Huptych. Photo: Viktor Kronbauer In his 1991 stage adaptation of Don Giovanni, director David Radok returned to the principles of illusive Baroque stage design. Production design by Tazeena Firth. Photo: Vojtěch Písařík Jan Vančura: set design for Mozart’s The Marriage of Figaro as staged at the Estates Theatre, 1992. For the famous 1969 staging of Mozart’s Don Giovanni, directed by Václav Kašlík, production designer Josef Svoboda took the layout of the Estates Theatre auditorium and reflected a mirror image on the stage. Photo: Jaromír Svoboda The theatre poster for the first Czech language production of Mozart’s opera The Abduction from the Seraglio, which was performed at the Estates Theatre on March 16, 1806. Productions