The scenographical installation is formed by a low and wide flight of steps that is as wide as the stage, with a central ramp that climbs to the upper level, that where the three singers are standing.

On the sides of the central ramp, two black RNO - Notturno Rear-projection screenss 5,5 x h 8 m hang immediately in front of those there are two Ghiaccio transparent backdrops with the same size.

The stage reflects on the sides in two ZSM - Magic Mirror backdrops 5,4 x h 7,4 m, that enlarge its size ...

... while the front of the stage is veiled by a backdrop made of black BGO - Gobelin tulle 13 x h 8 m, hand worked adding some filamentous applications, that can be lifted and lowered and that receives the projections in various moments of the show.

On the stair, one of the two cuts of red HSE - Tempesta silk 9 m long used by the scenography.

A second backdrop made of black BGO - Gobelin, more transparent because it's not worked, can go up and down with the same movement among the first tulle backdrop with filaments and the Ghiaccio transparent backdrops.

The cuts of light on the backdrop made of black BGO - Gobelin tulle ...

... are alternated with superimposed projections always on the same black tulle BGO - Gobelin ...

... and to the movements of light on the three singers and on the stage set behind the tulle.

Light effects on the backdrop made of black BGO - Gobelin tulle with filamentous applications.

On the sides of the singer in the middle, the rear-illumination of the two black Rear-projection screens RNO - Notturno underlines the silhouettes of other two singers.

Projections on the backdrop made of black BGO - Gobelin tulle ...

... accompanied by reflections on the Ghiaccio transparent backdrop.

The scenographer and visual designer Ezio Antonelli explains, in an interview with Sound&Lite, No. 87:

«The projections were substantially three.
The first, frontal and HD, used a couple of Barco CLM HD8 8000 ANSI lumen with "stack" configuration ...»

«... that worked on the whole width of the proscenium illuminating a backdrop made of black BGO - Gobelin tulle with a size of 13 x 8 m and hand worked.
A second rear-projection ...»

«... was on the backdrops made of RNO - Notturno, separated in two parts to allow the movement of the central stairway.»

The rear-projections on the two black screens RNO - Notturno ...

... melt with the reflexes on the Ghiaccio transparent backdrops and with the projections on the BGO - Gobelin tulle backdrops in a ceaselessly changing superimposition of layers.

The vertical cuts of light are projected on six strips 9 m high of white HSE - Tempesta silk.

The strips are multiplied behind by their reflexes on the Ghiaccio transparent backdropss and on the sides by their reflexes on the backdrops ZSM - Magic Mirror.

At the end of the effects the six strips of HSE - Tempesta silk left were dropped.

«It was added to it (or used apart) a further black BGO - Gobelin tulle on its back with a guillotine movement, that had the same size.
In absence of these two tulles ...»

«... the frontal projection effectively fell on the flight of steps or on the black backdrops in the background.
They were overlapped ...»

«... by two backdrops made of QGH - Ghiaccio that created, contemporarily to the video-projections, some transparencies and reflexes.
In this second could be used two vertical HD format or a double 1080 vertical format (horizontal only).
The system used in Rome ...»

«... was composed by four Panasonics DLP PT DW7700EK 7.700 ANSI lumen, while in Ravenna we decided for another couple of Barco CLM HDB.
Besides the project of scene and the sketches ...»

«... the work foresees the realization of detailed storyboard with sketches, pre visualizations, details of the movements of the scene, of the actions of the stage direction and the lights ...»

«... therefore the preparation of an ample library of images and video.
This whole work is constantly modified during the work in progress, according with the stage direction, but at the end it is normally used a minimum part of it only.
This at least in contemporary theatrical operas ...»

«... and particularly in the work with Cristina Mazzavillani Muti, allowing her to work in expressive way and ''at sight'', remodeling the visual materials in relationship to the stage direction and the rehearsals.»