Museums to the rescue: with the Torrazzo and the MdV, culture makes the difference

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CREMONA – Cremona city of art: Cremona and its museums win the challenge of post-pandemic rebirth. To be convinced it is the Councilor for Culture, Luca Burgazzi, who with satisfaction rattles off the data of a 2022 that smells like a decisive return to normality: «In the year just ended, 185,303 tickets were sold, an important figure that also takes into account the visitors who Torrazzo, walked into Baptistery and in the newborn Diocesan Museum – says the commissioner -. In absolute terms, we are on the levels of 2019, even if a precise comparison is not possible because not only did the Diocesan Museum not exist yet, but also because we do not have the data for Torrazzo and the Baptistery».

The Violin Museum

Yet, in this statistically reliable comparison difficulty the role of credible indicator of the current trend is played by the Violin Museum, which records over 74,000 admissions in 2022, doing better than 2019: «And it must be taken into account that in the 1922 data the aspects linked to school tourism are very limited compared to those of 2019 – Burgazzi specifies -. In terms of school tourism, which is slowly recovering, the effects are also evident on the realities of Cambonino, Natural History and San Lorenzo, down sharply compared to 2019. Reservations for next spring, however, are starting to arrive again and this is a good sign. The important numbers made by the Torrazzo, today a Vertical Museum, and by the monumental system of Baptistery, Cathedral and Diocesan Museum, represent a further enrichment of the cultural offer of the city».

The Diocesan Museum

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The Pinacoteca Ala Ponzone

From the 2022 data it is clear that the Torrazzo, with 42,000 admissions, and the Museo del Violino, with 74,895 separate tickets between actual admissions, hearings and concerts, represent the two engines that allow us to glimpse a possible and credible tourist flow that attests to 50,000 annual visitors. A hypothesis that does not seem far from the truth. Certainly the civic collections of the Pinacoteca suffer more, which also takes a leap forward compared to the two pandemic years of 2020 and 2021, but the 9,000 visitors to the Ala Ponzone are still a third of the almost 17,000 declared in 2019.

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Faced with the raw numerical data, Burgazzi, as administrator and in the name of culture as a service to the community, outlines the guidelines for next year: «We will consolidate the actions to promote the museum venues facing outward – he says – and we are thinking of a cumulative card that can have a quarterly value, in order to induce tourists to return. I am also working to ensure that museums continue to be places of cultural events, but aimed at enhancing the heritage of the individual collections”.

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In Burgazzi’s vision there is the desire to conquer, or re-conquer, the people of Cremona: «I would like to enhance the opportunities for which the people of Cremona can discover their cultural heritage – he anticipates -. Hence the idea of ​​offering ad hoc meetings to explore some works in the Pinacoteca that are difficult to see, with particular focuses. On the same wavelength is the initiative that will bring back the concerts of the Monteverdi conservatory, this time linked to a work in the Pinacoteca. The aim is thus to maintain attention to music, also linking it to the artistic heritage. All appointments will be in the afternoon and on Saturday with the aim of involving the people of Cremona. And under study there are also extraordinary and free openings dedicated to citizenship. The cultural heritage of a city is such if it is conceived in this way, primarily by those who live there».

In all of this, the gaze to the outside, aimed at visitors, does not intend to fail: «There is the desire to work for a single ticket office and a common card that also includes the Diocesan museum and the monumental complex of Piazza del Comune – he concludes Burgazzi —. I believe it is necessary to keep a delicate balance between a perspective that looks beyond our borders without forgetting the social fabric of the city, which is the first user of the artistic and cultural heritage. The planning of a common communication strategy goes in this twofold direction on the one hand and on the other the desire to enhance educational activities, in all the museum venues, to train the people of Cremona in beauty and in the knowledge of what their city represents artistically. ».

And it is in this double vision that it seems necessary to read the perspective of a museum system that combines local pride with the need to show oneself to the world for one’s peculiarities and uniqueness: from Torrazzo to the violin, passing through the great art of the Renaissance and Lombard Mannerism.

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