The emergence of new merchant classes and the bourgeoisie, along with Bourbon reformism, made the construction of a new theater necessary. Thus, between 1835 and 1838, at the behest of a society composed of “21 gentlemen,” the TEATRO UMBERTO (also known as the Nuovo Teatro Ferdinandeo, Principe Umberto, Umberto I, Teatro Privato).
Its design was entrusted to the Neapolitan architect Antonio Niccolini (who later designed the Piccini in Bari), while construction was carried out by the Sannicandro brothers from Bitonto, members of a family of builders and master masons.
Niccolini’s original design underwent changes for economic and spatial reasons; in fact, over time, major problems arose regarding access for carriages and traffic flow, so, with Castellucci’s intervention, the road infrastructure was reorganized and, in 1851, of a street between Piazza Plebiscito and Largo Teatro, which was dedicated to the musician Traetta as a gesture of reparation for the absence of the great Bitonto native among the medallions and busts depicted on the theater’s façade.

The rush to build, poor management, and meager municipal subsidies contributed significantly to the building’s deterioration after just a decade, when Castellucci was forced to repair the roofing over the stage area.
The inauguration took place on Easter evening, April 15, 1838, with a performance of Donizetti’s *La Parisina*.
Since 1838, numerous companies—especially comedy and drama troupes—have performed there, receiving financial support from the municipality. The theater’s structure was not spared: in 1843, 1881, and 1901, it underwent structural repairs; in 1972, the roof collapsed following a torrential downpour.
Since the final collapse in 1972, the events leading to the reconstruction of the Umberto have been long and tortuous: a long history of expropriations, projects, contracts, funding, and delays.
The theater’s restoration project was entrusted to five engineers in the early 1980s, but it wasn’t until 1998 that the contract was awarded and the construction site handed over to a contractor. In the meantime, the City had acquired the entire structure by expropriating the remaining shares. Thus, 1998 is a historic date: it marks, in fact, the beginning of the rebirth.
Work began, but some unexpected discoveries were bound to slow down the project. The situation underground, where a unique vaulted system emerged, forced the engineers to make a design change during construction. Furthermore, during the excavations, traces of the foundations of the ancient walls and of a gateway to the ancient city, known as “Porta Cupa,” came to light. Consequently, it became necessary to incorporate these discoveries into the restoration and highlight their significance.
A further delay was caused, in the following years, by the process of obtaining permits for the utilities. The theater’s small size necessitated special exemptions, which prolonged the bureaucratic process.
By 2003, the theater was nearly ready. The second phase of work then began, involving the faithful reproduction of the artistic decorations, the installation of furnishings, the setup of stage equipment, and the completion of the lighting fixtures. The final stage of the theater’s restoration involved installing the seats, which further delayed the opening date.
In total, there are 90 seats in the stalls arranged in 8 rows, out of a total of approximately 260, including the boxes and the gallery.
A decoration of golden fringes was added to the curtain to make it more opulent and elegant, while the wings were equipped with stage machinery. A screen for film projections was installed at the back of the stage. The theater features a bar area and a box office, and is equipped with all the facilities required by regulations for public performance venues.
Finally, as of April 16, 2005, Bitonto has its own theater. On stage, directed by Michele Mirabella, is one of the last compositions by the Bitonto-born musician Tommaso Traetta, “Il cavaliere errante,” written in Venice in 1778.
With the reopening, the city council decided to name the theater after the Bitonto-born musician Tommaso Traetta.
Today, the theater features a rectangular stage measuring 9×7 meters and has 246 seats in the stalls, boxes, and gallery.

Text from: https://www.comune.bitonto.ba.it/varie/da-vedere/teatro-traetta/