The audience area has been rebuilt according to the original designs of the late architect Aldo Rossi. The stage area however has been upgraded with modern stage technology.

Numerous specialists - among them many artist-craftsmen - were confronted with the enormous task of restoring the totally destroyed décors.

Müller-BBM was responsible for the acoustical planning of the theatre.

The reconstruction of an opera house like "La Fenice", which is world-famous for its design and architecture and not least because of its excellent acoustical qualities, presents a unique challenge for the acousticians.

The conflict between the historical requirements - the demand of a totally faithful restoration according to where and how it had been (dov’era, com’era) - had to be brought in line with the latest room acoustical findings and a number of "modern" requirements such as an improved comfort provided by air conditioning, exacting safety standards as well as the integration of new rehearsal and technical control rooms in the building complex.

All these demands presented extremely complex tasks as far as room acoustics is concerned, taking into consideration the relatively restricted spatial conditions of "La Fenice" in Venice.

With respect to the basic shape, the sizes, geometry, and volume, the classical Italian gallery theatre was reconstructed according to the original plans set forth by Architect Meduna as he had elaborated them in 1836.

The support structure of the Sala Teatrale and the ceilings of the galleries were realized as pure larch constructions which were erected decoupled from the massive enclosing walls of the cavea. The wooden supports reaching from the platea to the loggione present the carrying element of the whole wooden construction of the hall's ceiling.

This pure wooden construction which has been restored as a faithful copy with respect to building construction and acoustics is unique in the field of theatre constructions and presents the basis and one of the "mysteries" of the excellent acoustical conditions in the Sala Teatrale which had to be regained. The "independence" of the wooden supporting construction implies further acoustical advantages such as a reduced sound transmission from adjacent room zones.

The ceiling of the hall has been realized using the original sophisticated construction consisting of wooden ribs and mortar layers of coochio pesto. Thus, the original ideal acoustical conditions could be achieved.

In individual cases which required new materials due to fire prevention requirements, extensive material investigations were carried out in order to achieve an equivalence of the "new" with the historical materials.

The ceiling of the proscenium, which has been realized with a similar construction as the ceiling of the hall, was provided with a slight inclination. In contrast to the situation before the fire disaster, when the proscenium had a horizontal ceiling, the new construction provides an essentially improved sound reflection control from the artists on stage towards the stalls area.

The extremely extravagant décors in the ceiling area were restored with the original shapes, sizes, and materials of carta pesta, timber, and stucco. This guarantees the acoustically advantageous high sound diffusivity. The same principle of sound diffusity is also valid for the wall surfaces, pillars, and gallery balustrades whose surfaces are also richly decorated.

Current listening preferences require a longer reverberation time for opera performances and a slightly longer reverberation in the auditorium, e. g. longer reverberation times than is the rule in classical Italian theatres with galleries. In order to achieve this aim, the auditorium's absorbing surfaces were investigated in detail and their absorption behaviour was minimized as much as possible.

The seating configuration, as essential room acoustical element, was designed taking into consideration the historical plans in such a way that the sound absorption behaviour in the seated and unseated auditorium is largely identical with the conditions in the former auditorium. Hereby optimum acoustical conditions can be achieved for rehearsals as the room acoustical conditions in the unseated hall will only slightly differ from the conditions in the seated one.

True to the reconstruction of the floor construction in the platea, a pure wooden construction consisting of a wooden covering on raft battens with a large cavity below them has been specified. This floor construction serves for the absorption of very low frequencies and can be easily induced to vibrate. Besides the acoustical hearing impression, the latter is particularly important for "Fortissimi" passages as the timbre floor transmits perceptible vibrations to the listeners in the platea, an effect which additionally intensifies the acoustical hearing impression and the acoustic "extensive experience". The original inclination of the platea zone was increased for slightly improving the lines-of-sight and the supply with direct sound. Via openings in the wooden floor, the fresh air for the platea zones is induced silently.

While maintaining the position of the orchestra pit, a significant enlargement was achieved by extending its shape into the zone below the forestage. The capacity could be enlarged to 90 musicians and a surface of almost 120 m².

By installing two mobile orchestra podia, a flexible height adjustment helps positioning the orchestra musicians optimally.

The acoustical contact between the orchestra musicians in the orchestra pit with the singers on stage could not be realized sufficiently with the originally existing surfaces, such as the portal frame and the ceiling of the proscenium. Therefore, improvements, such as an inclination of the orchestra pit's balustrade on the side facing the stage, as well as a curved reflector surface with a width of 1.5 m below the lighting bridge, have been integrated into the concept.

The whole scene surface has been designed as a horizontal surface and can be inclined up to 15° in the area of the stage podia in accordance with the historical stage inclination. This inclination is very important from the acoustical point of view as it enables a much improved sound transmission for performances taking place in the rear half of the stage.

During symphonic concerts, the orchestra and the choir are primarily located on stage. The orchestra enclosure consists of the three-sided walls and the ceiling reflectors and has therefore a variable boundary towards the stage block. Thus, the reflections necessary for the musicians' hearing contact among each other are achieved and the sound energy is significantly guided into the audience area and not absorbed in the stage block.

By mobile wooden podia, a flexible positioning and height adjustment of the orchestra within the orchestra shell has been achieved.