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Teatro Lirico, ''Hans Heiling''

Cagliari

The two characters, a big dodecahedron on the left and a gigantic tusk of narwhal on the right reflect themselves in the big ZSM - Magic Mirror backdrop (18 m of width and 11 m of height). The back part of the scene is darkened here and the objects set behind the ZSM - Magic Mirror backdrop result invisible.
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A big impression is given by the moment in which Heiling shows to Anna his own abode, a sort of wunderkammer or cabinet de curiosités. Thanks to their gradual illumination, the symbolic objects placed behind the backdrop and shown in the preceding images seem to appear from the nothing, as for magic.The change of illumination provokes the passage of the ZSM - Magic Mirror from a situation of reflection to one of transparency.
The illumination of the objects set behind the ZSM - Magic Mirror was increased here, reason why, in this picture, the transparency of the backdrop is more marked.A central element of the scenography of Pier Luigi Pizzi, the big ZSM - Magic Mirror backdrop divides the anterior part of the stage, where the action take place, from that back part, that in this scene is occupied by some gigantic symbolic objects.The action take place in the terrestrial building of Hans Heiling, prince of the underground world from which he emerged because of his love for the young peasant Anna, that he tries to conquer.
The two parts of the stage, that before and that behind the ZSM - Magic Mirror backdrop, are here uniformly illuminated and the backdrop stands therefore in an intermediary situation between the reflection and the transparency.
The illumination behind the backdrop ZSM - Magic Mirror is lowered up until the turning off.
The ZSM - Magic Mirror backdrop again in a situation with frontal illumination.According to Plato, the dodecahedron is the only polyhedron within which they can be circumscribed and subscribed the other four regular solids (polyhedra that can be circumscribed and subscribed in a sphere) known by him and by him associated to the four elements: cube / earth, octahedron / air, icosahedron / water, tetrahedron / fire.Substantially, he considered the dodecahedron a symbolic synthesis of the universe.
The ZSM - Magic Mirror backdrop allows to see in transparency one of the backdrops painted by Rinaldo Rinaldi on ASC1000S - Sceno width 1.000 cm - Flame retardant, here illuminated with red light. The prologue of the opera, to which this picture is referred, take place in the underground world populated by gnomes.The original layout of Hans Heiling foresaw the presence of a female choir.The choir of children (here the gnomes are personified by them) is a variation that gives a great result introduced for the first time by the representation of Cagliari's theatre, of which it constitutes one of the reasons of most intense emotion, thanks to the interpretative skill and to the perfect stage coordination of the components.
The ZSM - Magic Mirror backdrop allows to see in transparency one of the backdrops painted by Rinaldo Rinaldi on ASC1000S - Sceno width 1.000 cm - Flame retardant, here illuminated with red light. Here the mother queen, surrounded by the choir of the gnomes, is trying to dissuade his son Hans Heiling to leave the subsoil to approach the human world in the surface, that will give him suffering only.
Hans Heiling
Romantic opera in a prologue and three acts
Music
Heinrich Marschner (1795-1861)
Libretto
Eduard Devrient
initially destined to Felix Mendelssohn
First night
Berlin, Königliches Opernhaus, 24/5/1833
Scenography,
costume design,
stage direction
Pier Luigi Pizzi
Pictorial realizations
Rinaldo Rinaldi
Scenographic workshop
Rubechini Carlo
Technical direction
Paolo Calanchini
Staging
Teatro Lirico of Cagliari
Season
2003-2004

Video & Documentation

Teatro Lirico Cagliari, ''Hans Heiling''

See also ...

BSU - Super Gobelin

Scrim and bobbinet fabrics

FOT - Otello

Velvets

Pier Luigi Pizzi

Some Masters

QLA - Laccato

Decorative films

ZSM - Mirrors made of QSM - Magic Mirror Film

Projection / transparency backdrops