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Once an architectural gem, the neglected theater in the northern city of Goya, which first opened in 1877, is badly in need of restoration.
But the formerly show-stopping playhouse -- also known as Elsa Theater, the name of the daughter of a former owner and still visible on the facade -- has fallen on hard times, as has Goya itself, a town of 87,000.
The Solari's once-gleaming facade is now covered with grime and plastered with advertisements. Worse still, its cash-strapped owner recently revealed plans to sell the theater.
"I, for one, would prefer if the government were to buy it," said the building's owner Anibal Olivetti, as he laid out on a table several pictures of the theatre dating back to its grander days.
The building was first purchased by his grandfather nearly a century ago, but Olivetti said he can no longer afford to keep it up. The city of Goya has rented the building from him for the past decade and a half, but the lease is up on December 8.
"It's an expensive piece of the national heritage to maintain," he said.
The small city of Goya has been called "Little Paris" because of its grand 19th century buildings.
But it also has earned the dubious distinction of being one of the poorest cities of its size in all of Argentina.
-- 'A part of our memory disappears' --
The theater is just one of many of its buildings which have fallen victim to decades of neglect.
The fate of the 130-year old theater has become a contentious talking point on radio, television and at dinner tables around the country.
As a symbol of how it is possible to keep such architectural treasures intact, preservationists point to the successful restoration of the opulent "Colon Theater" in the capital, Buenos Aires.
The 2,500-seat opera house, the largest in South America, was recently restored to its original glamour, showcasing its original crystal chandelier and art-embellished ceiling.
Supporters said The Colon stands a monument to national culture and argue that the less-showy Solari deserves no less loving care.
Olivetti said it could well be purchased by a private owner who he says should have the right to tear it down, even though the government in 2007 declared the theater a national monument.
The designation has provided a measure of protection to the theatre, but Olivetti is trying to have it overturned, given that the building has fallen into such disrepair.
Those who wish to see it restored say removing the designation would be a grievous offense.
"What will happen if the theater doesn't exist anymore?" said Ana Maria Trainini, director of the local ballet company.
"There will be a void at the center of our cultural life," she said.
The governor of Corrientes province, Ricardo Colombi, is said to be looking for ways to purchase the building but terms have not yet been discussed.
"I'm not going to wait 10 years until they make up their minds," said Olivetti, who did not disclose what his asking prices is.
Alongside the fight to save The Solari, preservationists are moving to other battle fronts.
Two blocks from the theater, a restoration is already under way of the century-old Social Club.
Meanwhile lawmakers in Buenos Aires are debating a new law that would forbid destroying any building constructed before 1941.
Every time a building of historic significance is claimed by the wrecking ball, said local architect Dacio Agretti, "a part of our memory disappears, a bit of our identity is taken away."
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But the formerly show-stopping playhouse -- also known as Elsa Theater, the name of the daughter of a former owner and still visible on the facade -- has fallen on hard times, as has Goya itself, a town of 87,000.
The Solari's once-gleaming facade is now covered with grime and plastered with advertisements. Worse still, its cash-strapped owner recently revealed plans to sell the theater.
"I, for one, would prefer if the government were to buy it," said the building's owner Anibal Olivetti, as he laid out on a table several pictures of the theatre dating back to its grander days.
The building was first purchased by his grandfather nearly a century ago, but Olivetti said he can no longer afford to keep it up. The city of Goya has rented the building from him for the past decade and a half, but the lease is up on December 8.
"It's an expensive piece of the national heritage to maintain," he said.
The small city of Goya has been called "Little Paris" because of its grand 19th century buildings.
But it also has earned the dubious distinction of being one of the poorest cities of its size in all of Argentina.
-- 'A part of our memory disappears' --
The theater is just one of many of its buildings which have fallen victim to decades of neglect.
The fate of the 130-year old theater has become a contentious talking point on radio, television and at dinner tables around the country.
As a symbol of how it is possible to keep such architectural treasures intact, preservationists point to the successful restoration of the opulent "Colon Theater" in the capital, Buenos Aires.
The 2,500-seat opera house, the largest in South America, was recently restored to its original glamour, showcasing its original crystal chandelier and art-embellished ceiling.
Supporters said The Colon stands a monument to national culture and argue that the less-showy Solari deserves no less loving care.
Olivetti said it could well be purchased by a private owner who he says should have the right to tear it down, even though the government in 2007 declared the theater a national monument.
The designation has provided a measure of protection to the theatre, but Olivetti is trying to have it overturned, given that the building has fallen into such disrepair.
Those who wish to see it restored say removing the designation would be a grievous offense.
"What will happen if the theater doesn't exist anymore?" said Ana Maria Trainini, director of the local ballet company.
"There will be a void at the center of our cultural life," she said.
The governor of Corrientes province, Ricardo Colombi, is said to be looking for ways to purchase the building but terms have not yet been discussed.
"I'm not going to wait 10 years until they make up their minds," said Olivetti, who did not disclose what his asking prices is.
Alongside the fight to save The Solari, preservationists are moving to other battle fronts.
Two blocks from the theater, a restoration is already under way of the century-old Social Club.
Meanwhile lawmakers in Buenos Aires are debating a new law that would forbid destroying any building constructed before 1941.
Every time a building of historic significance is claimed by the wrecking ball, said local architect Dacio Agretti, "a part of our memory disappears, a bit of our identity is taken away."
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