For nearly two years now, the sound of construction has echoed through Old Riga, as the reconstruction of the Wagner House continues. Alongside the building works, the Riga Richard Wagner Society (RRWS) is actively planning the future of the building and its cultural life after reopening. It is already known that the house will feature the Richard Wagner Museum, and in July, the museum’s first exhibit was christened – a meticulously crafted model of the ship Thetis.

In the story of the famous German composer Richard Wagner’s connection to Riga and the two years he spent here as the City Theatre’s music director, his departure is just as significant as his stay. Fleeing from creditors and debt, Wagner, along with his wife Minna and their Newfoundland dog Robber, escaped under cover of darkness to the port of Pillau to sail for London. A terrifying storm raged during the voyage, and the fear of death – combined with a sailor’s legend he heard on board – inspired Wagner to write the opera The Flying Dutchman. Because of this story, the RRWS chose a torn-sailed sailing ship as its emblem. The ship Wagner fled on was called Thetis, named after the sea goddess. While it was a common ship name at the time, through research and the Lloyd’s Register of Ships, the exact vessel was identified, and it was decided that the schooner Thetis would become part of the Wagner Museum.

The first scale model (1:50) of the ship was made in 2023 by Aleksandrs Šarga. It was then transformed by the scenographic collective Grāfienes into a wrecked sailing ship battered by storm, in the spirit of The Flying Dutchman. Now, just two years later, a new, larger model has been completed at a scale of 1:6 – it is three and a half meters long and will be suspended in the glass atrium of the restored Wagner House, above visitors’ heads. Those walking through the enfilade of rooms on the third floor – known as The Muse floor – will be able to observe the ship’s deck and rigging up close.

0

0

0

0

0

0

A large team contributed to the creation of this museum exhibit. Project drawings and sketches were made by Aleksandrs Šarga, while the hull was crafted by Aigars Baiks. A successful collaboration was also established with the Riga School of Art and Media, where under the guidance of instructor Silvestrs Fēlikss Ķībers, various wooden and metal parts were produced. The ship’s figurehead – a sculpture of the goddess Thetis at the bow – was carved by woodworker Māris Liepa. Although this is a model, it replicates a real ship in detail. Even a workboat was included on the deck, crafted by Sergejs Krilovs. The sails were sewn by Zinaīda Kudrjavceva, and the grommets were made by textile artist Kristīne Ramane. Rigging installation and fabrication were handled by RRWS Chairman Māris Gailis, who also painted the ship’s hull.

The christening of the ship took place in early July, marking the anniversary of Wagner’s boarding of the Thetis on July 9, 1839. As tradition demands, a bottle of champagne was ceremoniously broken against the hull – a task performed by the chief architect of the Wagner House restoration project, Zaiga Gaile. Currently, the Thetis is located in Kaltene. As the Wagner House opening approaches, the Grāfienes scenography team will visually transform the model into the wreck of the Flying Dutchman, just as they did with the original 1:50 model.

—

The restoration of the Wagner Theatre will result in several important benefits – not only enhancing the diversity and accessibility of cultural events for the people of Latvia, but also strengthening the image of Riga and Latvia as a cultural hub and reinforcing their historical connection to Richard Wagner, who served as Kapellmeister in this very building for two years (1837–1839). The project aims not only to renovate the building and its theater hall but also to establish masterclasses and a Richard Wagner Museum. The theatre will embody Wagner’s vision of the “GesamtkunstWerk21” – an incubator for all forms of art that will become a 21st-century-worthy international center for young artists.

The main contractor for the project is the general partnership 3A, with the chief designer being SIA Sarma un Norde Arhitekti, and engineering and construction supervision provided by SIA Būves un Būvsistēmas. Architectural and interior design is being carried out by subcontractor Zaiga Gaile’s Office. Experts from other countries have also been involved – for example, theater technology solutions are being developed by Theater Advies from the Netherlands, while acoustic consultation is provided by specialists from Nagata Acoustics, led by Yasuhisa Toyota, who has contributed to the design of the Elbphilharmonie in Hamburg and the Philharmonie de Paris, among many other prominent projects.

The project “Reduction of Greenhouse Gas Emissions at the Riga Wagner Theatre, Riharda Vāgnera iela 4, Riga, LV-1050, through Restoration and Renovation” is supported by the Emission Allowance Auction Instrument, the German Federal Foreign Office, the German Embassy in Riga, the Riga City Council, the Messerschmitt Foundation, and SCHWENK.

From May 10 to November 23, 2025, the 19th Venice Architecture Biennale will take place under the theme “Intelligens. Natural. Artificial. Collective.” Alongside the official program, the city will host a special exhibition titled “No Doubt About It,” featuring a scale model of the Wagner Theatre in Riga (1:30) as one of its centerpiece exhibits.

Curated by New York-based architect Vladimir Belogolovsky, the exhibition spotlights six outstanding architectural projects and their design strategies—each born from bold experimentation with intuitive ideas, and at times, initial uncertainty. Visitors will see concepts for three theaters, two museums, and one residential quarter. Alongside the Wagner Theatre model developed by Zaiga Gaile’s office, the exhibition will showcase architectural projects from Armenia, China, Georgia, Germany, and Poland.

“No Doubt About It” will be on display throughout the entire Biennale, including its preview days on May 8 and 9, at Magazzino Gallery—a contemporary art venue located in the historic Palazzo Contarini Polignac, right by Venice’s Grand Canal and just steps from the Gallerie dell’Accademia and the Peggy Guggenheim Collection.

Led by Iveta Leinassare, the Wagner Theatre model was created by a large team, including 12 volunteer interns—students and school pupils eager to gain experience and contribute to this meaningful project. Every detail of the model was carefully handcrafted, with a few elements like windows produced using 3D printing. The model helps visualize the building’s intricate layout and offers a glimpse of what the theatre will look like after restoration. The original, ornate tiled stoves—gently dismantled before construction—will be reinstated, and the floors will be covered with parquet made using patterns found in the original building. After the Biennale, the model will return to Riga, where it will become a central exhibit in the future Wagner Museum, awaiting the theatre’s grand reopening.

0

0

0

0

0

0

0

0

The Riga Richard Wagner Society and Zaiga Gaile’s Office  emphasize that presenting the Wagner Theatre project in Venice completes a symbolic journey linking Riga, Bayreuth, Venice—and back to Riga. This “Wagner Triangle” marks three cities of great significance in Richard Wagner’s life.

In Riga (1837–1839), Wagner worked as a conductor at the City’s First Theatre. It was here that he discovered the concept of a three-part opera hall layout, radically different from tradition: the orchestra positioned in a pit before and partially under the stage, the conductor with his back to the audience, and the auditorium in darkness. In Riga, Wagner was born as an opera composer, beginning work on Rienzi while serving as conductor. During his escape from creditors aboard the ship Thetis, a storm in the Baltic Sea inspired his vision for The Flying Dutchman.

In Bayreuth, Wagner constructed his own opera house in 1876, implementing the very principles he explored in Riga. To this day, the prestigious Bayreuth Festival continues there annually. He also built his home, Villa Wahnfried, in the same town.

Venice is where Wagner’s life came to an end in 1883, at the Palazzo Vendramin on the Grand Canal. His coffin was transported by boat along the canal to the train station, then by rail to Bayreuth, where he was laid to rest in the garden of Villa Wahnfried. And now, in a poetic full circle, the model of the Riga Wagner Theatre will appear in Venice.

“All the waters of the world are connected, and it felt essential to link, across 142 years, the Wagner coffin once carried on the waters of the Grand Canal with the floating model of the Wagner Theatre,” explains architect Zaiga Gaile.

The participation in the Venice Biennale is supported by Latvijas Finieris, 3A, MG Būvnieks, Schwenk Latvija, the State Culture Capital Foundation of Latvia, and the Investment and Development Agency of Latvia. Exhibition partners include Art Services Ltd., Maketudizains.lv, Maquettica.eu, and The Daily Print, with special thanks to the University of Latvia Academic Library and the Museum of the History of Riga and Navigation.

In preparation for this major event, we invite you to watch a video interview with the exhibition curator Vladimir Belogolovsky, the author of the project’s architectural vision, Zaiga Gaile, and initiator of the Wagner Theatre restoration project Māris Gailis.

—

Restoring the Wagner House will bring multiple significant benefits, not only increasing the diversity and accessibility of cultural events for Latvian residents but also strengthening Riga’s and Latvia’s reputation as a cultural center and its connection to Richard Wagner, who served as Kapellmeister in this house from 1837 to 1839. The project plans not only to restore the building and theatre hall but also to establish masterclasses and a Richard Wagner Museum. The house will realize Wagner’s vision of “GesamtkunstWerk21” as an incubator for all art forms, becoming an international hub for emerging artists in the 21st century.

The main construction contractor for the project is the consortium “SBSC and 3A,” with SIA “Sarma un Norde Arhitekti” as the lead designer. Engineering and construction supervision are carried out by SIA “Būves un Būvsistēmas.” The architectural and interior design is handled by “Zaiga Gaile’s Bureau.” Experts from other countries have also been involved—for instance, theatre technology solutions are being developed by “Theater Advies” from the Netherlands, while theatre acoustics consultancy is provided by specialists from “Nagata Acoustics” under the leadership of Yasuhisa Toyota, who has contributed to the design of the Elbphilharmonie in Hamburg and the Philharmonie de Paris, among other notable projects.

The project “Reduction of Greenhouse Gas Emissions in the Wagner House, 4 Richard Wagner Street, Riga, LV-1050, by Restoring and Renovating the Riga Wagner House” is supported by the Emissions Trading System, the German Federal Foreign Office, the German Embassy in Riga, the Riga City Council, the Messerschmitt Foundation, and SCHWENK.

The new year marks the second year of construction work on the Wagner House restoration project. Under the leadership of the geotechnical engineering company “Keller,” work continues on strengthening the building’s foundations. This time, however, the Richard Wagner Society of Riga (RWSR) wishes to offer an insight into the history and restoration vision of the theatre hall.

Many are surprised to learn that beneath the space commonly known as the Wagner or Musse Hall, there was once an entire theatre with a parterre and two balconies. It was here that the young composer Richard Wagner worked between 1837 and 1839. After the building’s restoration, the public will have access not only to the familiar chamber music hall but also to the newly restored opera theatre hall for 500 spectators—the Wagner Theatre. The project’s architect, Zaiga Gaile, provides further details on the history and restoration of this hall:

“Before the Christmas holidays, we completed the interior design project for the theatre’s main space—the Grand Hall. A brief historical overview: The Riga City Theatre Hall was built in 1782. The original project by architect Christoph Haberland has not survived; only fragmented and contradictory descriptions exist. We have not lost hope of finding the original project in the archives of St. Petersburg, as the theatre’s builder, Baron Otto Hermann von Vietinghoff-Scheel, spent his final years in Imperial Russia in a high-ranking position comparable to today’s Minister of Health. The Baron also built a grand residence there and passed away in 1792. Given the current wartime situation, Russia’s extensive archives are understandably inaccessible.

A long-standing legend claimed that the theatre hall was built within an old warehouse. However, upon removing layers of plaster from the walls, we uncovered brickwork with rhythmically spaced arched window openings on both side facades of the hall. Remarkably, one original bricked-up window was found in good condition, which will be showcased in the restored building. If this was originally a warehouse, why would it have so many windows? The project’s researcher, architect Ilmārs Dirveiks, proposes the hypothesis that there was never a warehouse—the original hall was newly built with illuminated side galleries leading to the theatre’s three levels, much like the Latvian National Opera. If this was the case, the hall was narrow and cramped, making it difficult to believe historical accounts that it could accommodate 500 spectators. Many sources, however, describe poor conditions—lack of air, unpleasant odors, and cold temperatures on stage, which frequently caused singers to catch colds. Interestingly, large arched openings at the back of the stage suggest that scenery was delivered and artists entered from the rear, likely from an adjacent building.

0

0

0

0

The hall was rebuilt in 1837, shortly before Richard Wagner was invited to work as a conductor. A program from this period with a schematic plan of the hall has survived, showing a parterre with boxes and two balconies. The process of uncovering the walls has clearly revealed the imprints of the balcony floors. It is worth noting that two additional floors were inserted into the hall at the end of the 19th century, when the theatre ceased to exist. The theatre troupe moved to the Latvian National Opera, and the building came under the management of the “Musse” Society, which continued to organize concerts, balls, and other cultural events. After World War II, the Fundamental Library of the Latvian SSR Academy of Sciences (now the Academic Library of the University of Latvia) moved into the building, transforming the theatre’s three levels into a book repository. It is a striking image—an opera hall filled with books! Before the war, the City Library was housed in the Town Hall. When it burned down, Jānis Straubergs found the vacant Wagner House nearby. He salvaged as many books as possible, transporting them by cart and wheelbarrow. Women carried out this task, as men were at war. The ruins of the Town Hall were guarded and off-limits, but Straubergs somehow secretly arranged access. The entire collection of rare books currently housed in the Academic Library, including bound volumes of the first Riga theatre’s posters, originates from these rescued books. The Musse Hall (on the third floor) initially served as a large reading room but was later converted into a conference hall by the communists, with a white plaster bust of Lenin at one end and Stalin at the other. The Fundamental Library remained for 40 years until the Wagner House was restored as a concert hall for chamber music performances.

0

0

0

0

The concept for the restored opera theatre hall aims to recreate the hall’s original appearance as closely as possible within existing parameters, featuring a parterre, boxes, and two balconies. Historical documents describe chairs upholstered in green fabric in the parterre and red fabric in the balconies, with the box walls covered in matching fabric. The hall aspires toward light, with a vast illusory ceiling opening to the sky—something unseen in any other theatre worldwide, where large crystal chandeliers typically hang above the audience. The hall will feature wooden flooring and steps, paneling on the walls, columns, and balcony railings. The walls will be upholstered with red ornamental fabric, based on wallpaper fragments discovered in the Musse (Wagner) Hall.”

Restoring the Wagner House will bring multiple significant benefits, not only increasing the diversity and accessibility of cultural events for Latvian residents but also strengthening Riga’s and Latvia’s reputation as a cultural center and its connection to Richard Wagner, who served as Kapellmeister in this house from 1837 to 1839. The project plans not only to restore the building and theatre hall but also to establish masterclasses and a Richard Wagner Museum. The house will realize Wagner’s vision of “GesamtkunstWerk21” as an incubator for all art forms, becoming an international hub for emerging artists in the 21st century.

The main construction contractor for the project is the consortium “SBSC and 3A,” with SIA “Sarma un Norde Arhitekti” as the lead designer. Engineering and construction supervision are carried out by SIA “Būves un Būvsistēmas.” The architectural and interior design is handled by “Zaiga Gaile’s Bureau.” Experts from other countries have also been involved—for instance, theatre technology solutions are being developed by “Theater Advies” from the Netherlands, while theatre acoustics consultancy is provided by specialists from “Nagata Acoustics” under the leadership of Yasuhisa Toyota, who has contributed to the design of the Elbphilharmonie in Hamburg and the Philharmonie de Paris, among other notable projects.

The project “Reduction of Greenhouse Gas Emissions in the Wagner House, 4 Richard Wagner Street, Riga, LV-1050, by Restoring and Renovating the Riga Wagner House” is supported by the Emissions Trading System, the German Federal Foreign Office, the German Embassy in Riga, the Riga City Council, the Messerschmitt Foundation, and SCHWENK.

After extensive preparatory work, the next critical phase in the restoration of Wagner Theatre in Riga has begun: the reinforcement of the building’s foundations.

In July of this year, the Riga Richard Wagner Society (RRWS) reported that during plaster removal, it was discovered that the building’s structural condition was worse than initially anticipated. A series of solutions were developed and implemented to address the most critical issues and strengthen the structure prior to foundation reinforcement. In mid-October, the Polish company KELLER began work at the Wagner Theatre construction site, installing the first foundation-strengthening piles at a depth of 16 meters.

The foundation reinforcement is being carried out using a deep soil stabilization method, where the soil is mixed with a cement slurry. This is the most gentle method for foundation reinforcement, as it avoids vibrations and minimizes the risk of soil settlement. However, the process is time-consuming and complex due to the historic architecture and muddy soil near the Rīdzene River’s bed. The work is planned in two stages: first, reinforcing the foundations in the section of the building closer to Wagner Street, and then casting a new load-bearing shell for the opera hall’s volume. After this, the foundations of the opera hall section can also be reinforced.

The renovation of Wagner Theatre promises significant benefits, not only enhancing the variety and accessibility of cultural events for the people of Latvia, but also strengthening Riga and Latvia’s reputation as a cultural hub with ties to Richard Wagner, who served as Kapellmeister here from 1837 to 1839. The project will not only restore the building and theatre hall but will also establish masterclasses and a Richard Wagner museum. Wagner Theatre will embody Wagner’s vision of “GesamtkunstWerk21” – an incubator for all art forms, set to become an international center for young artists that meets the needs of the 21st century.

The main contractor for the project is “SBSC un 3A,” with principal design led by “Sarma un Norde Arhitekti”, while engineering and construction supervision are handled by “Būves un Būvsistēmas”. “Zaigas Gailes birojs” has been engaged as a subcontractor for architectural and interior design. International experts have also been brought on board: Theater Advies from the Netherlands is developing theatre technology solutions, while Nagata Acoustics, led by Yasuhisa Toyota, is consulting on theatre acoustics. Toyota’s firm has contributed to the design of renowned venues like the Elbphilharmonie and the Philharmonie de Paris.

The project, “Reduction of Greenhouse Gas Emissions at Riga Wagner Theatre,” located at 4 Riharda Wagner Street, Riga, LV-1050, is supported by the Emission Trading Instrument, the German Ministry of Foreign Affairs, the German Embassy in Riga, Riga City Council, building materials and cement manufacturer SCHWENK, as well as Richard Wagner Societies in Germany and private donations.

It will soon be one year since the building at 4 Vāgnera Street was handed over to the builders. Work is still ongoing on the details of the project, as well as extensive preparations for the next stage – strengthening the foundations. Extensive dismantling of structures and components has been taking place at Wagner’s House over the last few months. As architect Zaiga Gaile, the author of the architectural vision for the project, says: “We have many surprises, both positive and problematic.”

The plaster on the walls of the former theatre hall has been removed, revealing a sad picture: the walls are badly damaged, more than previously anticipated. The fact that the theatre was built 250 years ago on the site of a former warehouse is confirmed: all the brickwork consists of bricked-up arches and openings, dotted with cracks of various sizes. Layers of time overlap and sometimes there are serious concerns about the load-bearing capacity of the walls. The designers have to seriously study and rework the solutions of the pre-designed construction project. The project involves an Architectural Investigation Group (Arhitektoniskā Izpētes grupa), which carefully documents the wall outcrops and details found during dismantling.

0

0

0

Among the positive surprises is the unusually rich collection of finishing details and documents found during the dismantling process, some of which will be exhibited in the future Wagner Museum. Most of the details were uncovered after the slabs had been exposed and the doors dismantled. Zaiga Gaile explains more about the finds. “In Musses Hall, a built-in mirror on the back wall was removed to reveal red wallpaper with imitation fabric underneath. These are typical of the early 19th century. A second wallpaper exposure was found in the entrance corridor in front of the Musse Hall: the Polish restorers had apparently been tasked with improving the soundproofing of the hall during renovations in 1988 and had installed a double wall several metres long. This is a unique find where the wallpaper has survived over a large area without damage. In the tea salon on the third floor, green flowered wallpaper was under the triangular decorative door portal. We also found red fabric wallpaper under the door and window frames on the same floor of the Musse Society.”

The architects have created a map showing the locations of the documents on the building plan. The main locations are the third floor and the attic, but old newspapers and magazines are also found in unexpected and unusual underground hiding places. “For example, a well-preserved fashion magazine from the early 20th century with drawn models and even a page with fabric patterns. We are already fantasising about using them as costume models for the theatre opening,” says Zaiga Gaile. On 7 January 1912, the Musse Society celebrated its 125th anniversary, and the occasion was marked with an ornately bound catalogue. It carefully lists the members of the Society, most of whom are German nobility and civic elite. The list of honorary members includes the Mayor of Riga, Georg Armitstedt, and the Governor of the tsarist government and his entourage. A programme from the Society’s 100th anniversary ceremony, including a lunch menu and a concert, was found during the dismantling. . The statutes of the Society in various editions and the catalogue of library books have been preserved. “It is quite clear from the list of members that the influential elite of the Latvian German nobility met in the Muse Society, which was housed in the Wagner House and founded as early as 1787,” says Zaiga Gaile. “We have approached the historian Inta Dišlere, who has agreed to do research on the Society and its members. Noblemen flocked to the meetings from their estates – concerts and balls, lunches and cigars; old playing cards and tobacco wrappers were also found.”

The construction works are planned to last for 3 years and the Riga Wagner Theatre will open in autumn 2027. The renovation of the Wagner House will bring a number of significant benefits, not only enhancing the diversity and accessibility of cultural events for the people of Latvia, but also strengthening the image of Riga and Latvia as a cultural centre and the link with Richard Wagner, who was Kapellmeister at the House for two years (1837-1839). The project will not only renovate the building and the theatre hall, but will also create masterclasses and a Richard Wagner museum. The house will realise Wagner’s vision of “GesamtkunstWerk21” – an incubator for all art forms that will become an international centre for young artists worthy of the 21st century.

The main contractor of the project is the association of persons “SBSC un 3A” with the main designer “Sarma un Norde Arhitekti” Ltd, while the duties of the engineer and construction supervision are performed by “Būves un Būvsistēmas” Ltd. Zaiga Gailes birojs” has been hired as a subcontractor for the architectural and interior design. Experts from other countries have also been brought in – for example, theatre technology solutions are being developed by Theater Advies from the Netherlands, while Nagata Acoustics, headed by Yasuhisa Toyota, are acting as consultants on theatre acoustics, having been involved in the design of the Elba Philharmonic and Paris Philharmonic, as well as many other notable projects.

The project “Reduction of greenhouse gas emissions at the Riga Wagner House”, 4 Riharda Wagner Street, Riga, LV-1050, by renovating and restoring the Riga Wagner House” is supported by the Emission Trading Instrument, the German Ministry of Foreign Affairs, the German Embassy in Riga, Riga City Council, as well as the building materials and cement manufacturer SCHWENK.