BGO - Gobelin

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01. white
03. grey
05. holo grey
99. black

The outlined red line identifies the position of the selvage in comparison with the mesh.

HSE140S - Tempesta - Flameproof

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Special colours available at this time

ZZ378. verde salvia * (20 m)

* availability limited to the indicated quantity

BGO - Gobelin tull

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01. white

Detail of a BGO - Gobelin tulle with Ultrawide Ecoprint digital printing.

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Teatro alla Scala, ''Quartett''

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A black BGO - Gobelin tulle was installed immediately behind the main curtain.

The urban landscape of Milan is projected from the front and the scene behind it is not illuminated, so the tulle is completely shielding, but ...

... it becomes instead transparent when the scene behind is illuminated.

The frontal projection persists here and superimposes itself on the scene.

If the projection were turned off, the tulle would be completely transparent.

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Yerevan Opera Theatre, ''The Last Judgement''

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On the left, front projection on a backdrop made of BGO - Gobelin 03. grey tulle, 20 x h 11.3 m, behind which the choir is seen in transparency and backlit.

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Teatro alla Scala, ''Madama Butterfly''

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The close distance makes visible the mesh of white BGO - Gobelin tulle.

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Teatro La Fenice, ''Otello''

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Black BGO - Gobelin tulle, 16,5 x h 11,4 m.

The symbols of the zodiac, painted by Paolino Libralato with gray paint, are more reflective than the black background of the tulle and are visible in proportion to the intensity of the light with which the tulle is illuminated ...

... and take on light's colour, blue in the previous photo and red here.

Behind the choir, thanks to blue lighting, the same zodiacal subjects appear painted on a backdrop made of ASC - Sceno muslin.

The transparency of the tulle creates an overlap of the painted images on the two layers.

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Teatro San Carlo, ''Candide''

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The frame of the TV and the figure hovering in the air are projected on a white BGO - Gobelin tulle.

A little behind, a second black BGO - Gobelin tulle reinforces the intensity of the projection in the foreground and duplicates it in a more nuanced way.

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Teatro Verdi of Trieste, ''Madama Butterfly''

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The red mantled big female bust and the big ideograms are painted on the beige background of a backdrop made of BGO - Gobelin tulle.

The characters of Cio-cio-san and Suzuki, with their parasols are immediately behind ...

... and the same backdrop made of BGO - Gobelin already seen in the previous picture, here with a frontal illumination that underlines as, changing the lighting, the tulle can pass from an almost complete transparency to a wall effect.

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Teatro San Carlo, ''Gustavo III''

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A BGO - Gobelin tulle on which the Palazzo Reale of Naples was painted would totally hide the scene, if it were lit from the front.

But here the inversion of the lights brings out a stairway that rises to a large oculus, which opens onto a seascape painted on ASC - Sceno muslin.

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Teatro San Carlo, ''Parsifal''

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The perspective and the seated figure are painted on a white BGO - Gobelin tulle, through which is seen, in a perfect transparency, a couple of reproductions of the Hermes by Praxiteles.

The scene takes light on the background thanks to a Rear-illuminated backdrop made of RAR - Arizona film.

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Teatro Amilcare Ponchielli, ''L'Orfeo''

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A just painted BGO - Gobelin tulle that demonstrates the mastery of the painter Rinaldo Rinaldi and the extraordinary paintability of the fabric.

Maria Grazia Cervetti, wife and collaborator of the painter, is standing in the center of the backdrop.

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Catedral de Palencia, ''Renacer''

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Detail of a Swag curtain made of red COS - Oscurante molton and 05. holo grey BGO - Gobelin tulle ...

... and a cylinder made of white BGO - Gobelin tulle with tubular making, Ø 4 m and h 12.5 m.

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Opernhaus, ''Raymonda''

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The painter Paolino Libralato with a BGO - Gobelin tulle which was painted according to a sketch by Luisa Spinatelli.

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Lighting seminar

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Two edge-blended projectors rear-project a grey BGO - Gobelin tulle backdrop.

Their light is aligned with the viewer's eye and deliberately produces a noticeable hot spot effect.

The dancer is behind the tulle ...

... but he is visible in transparency when he is illuminated directly, and is especially visible through the areas of the tulle that are not rear-projected.

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Teatro Carlo Felice, ''Werther''

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Composite backdrop made of ASC - Sceno muslin and BGO - Gobelin tulle with painted clouds ...

... in two different lighting situations.

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Beni Montresor

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A backdrop made of BGO - Gobelin tulle with painted clouds.

A Rear-illuminated backdrop made of RTE - Temporale gives a depth to the sky, while the adjustment of the frontal illumination on the tulle makes to appear or disappear the painted subject, that is the clouds.

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Teatro Carlo Felice, ''Werther''

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A composite backdrop made of BGO - Gobelin tulle, painted like a sky and on which a big tree made of painted ASC - Sceno muslin was applied .

The tulle is rear-illuminated by a RTE - Temporale Rear-illuminated backdrop that is diffusing a wondering back-lighting effect.

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Teatro Carlo Felice, ''L'elisir d'amore''

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A BGO - Gobelin tulle used by a scenography that transposes Donizetti's masterpiece in the fairy-like dimension loved by the great Genoese scenographer Emanuele Luzzati.

Lowering the lights on the background ...

... and increasing the intensity of the illumination projected on the painted BGO - Gobelin tulle, the action moves in a garden that appears with a fading behind the characters.

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Royal O.H. - Covent Garden, ''Faust''

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The open curtain is painted on ASC - Sceno muslin and it is placed behind a BGO - Gobelin tulle on which the closed curtain is painted.

By regulating the lighting of the two backdrops, which are both visible here because they are caught halfway through the fading of the lights, it is possible to pass from the open curtain to the closed one.

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Teatro Español, ''Electra''

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Hedgetop light effects on a 03. grey BGO - Gobelin tulle backdrop.

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Teatro Dante Alighieri, ''Tenebrae''

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Cuts of hedgetop light on a black BGO - Gobelin tulle backdrop.

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Occidens - Catedral de Pamplona

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The installation in the Cattedrale of Pamplona of a 03. grey BGO - Gobelin tulle made up with tubular making, Ø 4 m and h 14,5 m.

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Teatro Carlo Felice, ''The Marriage of Figaro''

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A gigantic clock has been painted on a BGO - Gobelin tulle and its details are perfectly visible because the scene behind it is almost entirely obscured, with the exception of the characters illuminated with localized light, which give the impression of being enclosed in the dial.

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Teatro alla Scala, ''Carmen'', ballet

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On the scene you can read, like in a superimposition, the painted motives on the large backdrop made of 03. grey BGO - Gobelin tulle.

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Teatro Lirico of Cagliari, ''Carmen''

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A backdrop made of painted BGO - Gobelin tulle.