ACOUSTIC AND STRUCTURE OF THE AMPHITHEATER

The amphitheater of the Port of Angels in Arcugnano, needs no electronic amplification. Its natural buffer of sound is the body of water.
Are represented by its amazing acoustics created by the water, as well as by a breathtaking view facing Venice. To improve the acoustic performance, the orchestra can also be flooded up to the entire audience.
Moreover, fresh water (coming from two underground tanks) can be placed in the basin, influencing the water temperature and, in this way, correcting the glare as pleased.

THE MYSTIC GULF OF THE AMPHITHEATER

From any point is settled, the audience can enjoy the view in a context of incomparable scenic beauty.
Over the stage, the look gets inside the Bay of the Port of Angels, losting in the plain. This bay was manned by two natural promontories: the former, the one of Isthmus of Tormeno, and the ladder, which extendend over the current church Longara. Two hills that give the eye a double curtain in the direction of Venice .A natural beauty, combined with a unique acoustic, which allow a fantastic representation.

THE NATURAL TRIBUNES

Another excellence is represented by the stands, a secular residual emerged from the depths of the Ancient Sea Berico, the sea that connected it to the gates of the Venetian Lagoon.

LUIGI MALTARELLO J. STUDIES ON THEATRE ACUSTICS

Luigi Maltarello J. (composer) Mozart, Verdi were all users of the LA at 432Hz multiple of the unaudible 8hz.
The 8hz, also called vibration of the cosmos, or the universe or our planet. Even the INTENSITY 'of the sound varied from area to area.
the original is calculated with 299.792,458 (speed of light km/s) / 40021 (average circumference of the earth) = 7.49 Hz migratory birds use infrasound generated from natural sources (e.g. turbulent airflows that cross the mountain ranges, the vibrations propagated by water basins or the vibrations of the stars), as an aid to navigation.
According to studies of Maltarello, the site had a peculiar vibrant magnetism. It vibrates at a certain frequency, that frequency. It is no coincidence that his brother Luigi here especially played Verdi and Mozart. Just that Mozart that years before with Boccherini would have worked with Boccherini, at the Amphitheater. Even the INTENSITY 'sound varies from area to area.
the original is calculated with 299.792,458 (speed of light km/s) / 40021 (average circumference of the earth) = 7.49 Hz.
A Nazi propaganda minister, Joseph Goebbels created a universal decree in 1939 with which he told all the musicians to sing the LA 440 Hz instead of 432 Hz. Since 1939 until now everybody plays, in fact, at that frequency.
Why did we change the pitch of the LA to 432Hz frequency to 440 Hz?
Because this means that people can not think and feel in a certain way and in doing so the brain remains in an internal state of disorder.
The frequency of 432 Hz connects physical properties such as light, time, space, gravity, magnetism, with biological phenomena such as DNA and consciousness.

The deeper concept in support of this frequency lies in its higher level of harmony with nature and with the processes of life, all of which are also confirmed by Meteorology, as ‘it’s logical to think that there are also frequencies with these characteristics that are harmonic with life and other disharmonious with it.
During specific tests, the presence of infrasounds has shown, in a significant number of respondents (22%) a sense of anxiety, discomfort, nervousness, feelings of horror or fear, shivers down the spine and feeling of pressure on your chest.
Whoever has visited Stonehenge, the Great Pyramid, Delphi, Olympia, Paestum, Glastonbury or the Chartres Cathedral in France has perceived the strength, the peace and the harmony that these places can give off and has found the reason for this in the beauty of the surrounding nature or in the building. That is certainly true, but there is something more: the energy of the place.
The magical place lies above a particular point of the earth's surface, wehere are supposed to link some telluric currents, creating a psycomagnetic field more or less harmonious or disharmonious.
The ancestral man had a special relationship with nature, which for him was animated and sacred, and defined ‘genius loci’ (the genius of the place) the essence, the strength of a place; a force perceptible enough to cause him to interpret it as a god and a personification of natural elements, mountain, plain, source or river whatever they were.
To him were sacred natural caves, groves or hills.

With Christianity the genius loci loses importance, as any element of pagan culture, is considered or deleted because considered "evil" or is eaten and adapted, with very dubious cultural operations, to the mentality of the Christian ritual. But tese places got back their importance in the Middle Ages in the form of pilgrimage destinations; all the pgan subculture however remains still present in the popular mind as a belief in fairies, gnomes, in good and evil spirits, all associated with certain places. We find them in fairy tales from around the world and local legends.
With the advent of the Illuminism, rationalism and positivism everything was demystified and deprived of much of its charm. The genius loci is no longer believed, it is interpreted as a projection of the ancestral psyche; but with the romantic era the genius loci is rediscovered: there is a return to a natural landscape, where you can rediscover the charm of uncontaminated nature.
Of course, any existing crystalline formations in the ground can help to load the place magnetically, so as well as the winds that blow mainly on the region, the angle of exposure to sunlight and rainfall. In fact, all that constitutes the natural environment of the examined location, influences his "macical nature", even if the existing underground currents remain the most fundamental and decisive factor.
Since the psycho-energy of a planet flows at a certain depth from the surface -mostly in the bedrock underlying the soil- in many cases it is sufficient that a single current goes back, up close to the ground level, perhaps taking advantage of the presence of a peering rock, surging through the clay surface, to create to a magnetized area. This happens very often on valley bottoms in mountain areas, near the huge boulders that stand between the meadows like small mountains or on the sandy beaches interrupted by rocks and isolated groups of darker rocks. The ancient Celts, who knew the therapeutic value of such places, often built around these large stones some natural shrines.

In musical terms, the frequency of 8 Hz corresponds to a note of Do. Going up five octaves, i.e. five times along the seven notes of the scale, you get a Do of 256Hz, where "La" has a frequency of 432 Hz.

HARMONIC CHECKS IN THE LAKE IN 1800

However, Vincenzo Maltarello, at that time, although it has no technical detection tools, to test it, he believed that this place was particularly endowed with beneficial frequencies and that the multiple of 8hz, the 432Hz joined here perfectly in their enforceability. Not all places in the world in fact give off the same frequency vibrating in the same way as this.
All this was well known to both the Celts, the Reti, who in their passage left trace of their knowledge right here, in harmony with those woods.
Harmony = harmonica as a large chest vibrating.
It is no coincidence that prof. Nordera, neuropsychiatrist worthy of wide fame, right in the Lake of Fontega, in "Villa Margherita", directs a Neuropsychiatrist clinic of international importance.

AMPHITHEATER INSIDE THE THEATER

This further modification commissioned by Querini Family, would have made an amphitheater out of a theater. And this is the explanation why it was remembered by definition as an unachieved Amphitheatre. The result, still verifiable, is however surprising. The voice, with open gates in the gallery of the auditorium comes back to its source with a long echo. If we try the other side that is downhill of the basin, the issuance of a male voice or bass-baritonal sounds, modulated in a range of 70/130 Hz, directed toward the bleachers and open gallery it get back and occurring as a natural phenomenon and spreading in other parts of the Amphitheatre.

TEMPLAR KNIGHTS GARRISON OF THE PORT OF ANGELS, IMPORTERS OF TECHNICAL SOUND

Although notoriously great lovers of the theater, and music, where nobles of the Montanari family could have learned these techniques?
The most plausible hypothesis is that they had already found those present structures built by the Templar Knights which were allocated at the fortified farm over the Amphitheatre hill.
The Port of Angels was also regarded by them as a place of worship, prayer, meditation as it had been before by the Italians, the Celts and the few inhabitants of Reti population whose maritime surnames still existed are still present in the families who live in the houses of Arcugnano, no more than 30 people, and it is believed that some of them were hermits. But, where the Templar Knights, could have leart these amplification techniques? Most likely due to the knowledge that they had increased on their routes to the Egypt and Malta. Knowledge of much and too much, and about so many things that, ultimately would cost to those guardians of the temple, their very life.
The Templar Knights in fact, had always shown a conciliatory attitude towards the Temple and their followers. This may have been the specific element of their loss and that, without any process, decreed the physical elimination of them all and the removal of any proof of their generous work undertaken to maintain the levees, the forest sacred to Celts and the Temple.