Situated near the Theatine Church and the Residence, the Cuvilliés Theatre was commissioned by the Elector of Bavaria, Maximilian III Joseph Wittelsbach (1727-1777). Built between 1751 and 1753 to a design by the Bavarian architect François de Cuvilliés the Elder (1695-1768), the building burned down during the Second World War. Of the original rococo sculptural elements of the Cuvilliés Theatre, the only surviving Polish-German accent in the interior is the cartouche with the coats of arms of Maximilian III Joseph and his wife, Maria Anna Wettyn (1728-1797), testifying to the personal union between Bavaria, Poland and Saxony.

History of the theatre

The Cuvilliés theatre was reserved exclusively for the sovereign and his court. The intimate stage soon became renowned for its lavish setting of opera performances.

In 1944, the building was completely destroyed in a bombing. Fortunately, the original rococo sculptural decoration and small architectural elements were saved, thanks to the decision to dismantle them and move them to a safe place in 1943.

After the war, the interiors of the theatre were reconstructed in the east wing of the Residence. Between 1956 and 1958, restoration of the surviving elements was carried out and they were then placed in the new home of the Cuvilliés Theatre, in the Old Theatre of the Residence.

Cartouche with the coats of arms of Maximilian III Joseph Wittelsbach and his wife Maria Anna Wettyn

Above the stage in the new theatre, as originally intended, is the coat-of-arms cartouche of the theatre's founder, Elector Maximilian III Joseph Wittelsbach of Bavaria, and his wife, the Polish royal and Lithuanian princess Maria Anna Wettyn. To the left of the cartouche is the coat of arms of the Bavarian Palatinate, and to the right is the Polish-Lithuanian coat of arms with the central Wettin coat of arms shield. The combined coats of arms symbolise the personal union between Bavaria, Poland and Saxony. Made under the supervision of Johann Baptist Straub (1704-1784), the rococo sculptural composition is complemented by angels holding a cartouche and a ducal crown above it. The large size of the composition makes it visible even from the last rows of the hall.