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Pier Luigi Pizzi

 

Pier Luigi Pizzi at the Arena Sferisterio of Macerata, during the installation by Arena Sferisterio, ''Andrea Chénier'', in 2005. Pizzi began his scenic career in 1951 at the Teatro Stabile of Genoa, after attending the Faculty of Architecture of the Politecnico in Milan. He performs the first theatrical experience with Giorgio Strehler and Giorgio De Lullo, which meets in 1957 and with him established an intense collaboration that will continue until 1981, the year of the death of the founder of the Compagnia dei Giovani, with memorable results both in the plahouse that in the lyric theatre.Among the numerous installations of association with the company and of De Lullo and Romolo Valli, must be mentioned that veronese of Twelfth Night by Shakespeare (1961), and those of 1963 at Festival dei Due Mondi of Spoleto: Sei personaggi in cerca d'autore by Pirandello and Il malato immaginario by Molière.
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A backdrop made of HRT - Rasetto Texturé with a height of 20 m and a width of 4,20 m that stylizes the French flag.Great importance along the entire artistic carrier of Pizzi, is taken by the installations for the theatre of opera. In the first period should be remembered, always with the director by Giorgio De Lullo, Alceste by Christoph Willibald Gluck realized for Maggio Musicale Fiorentino (1966) and that of The Sicilian Vespers at the Teatro alla Scala in Milan (1970). Arena Sferisterio, ''Andrea Chénier''
Pier Luigi Pizzi separated the front of the stage from the bottom with a gigantic ZSM - Magic Mirror backdrop, in which they reflect themselves a big dodecahedron, considered by Platone the symbol of the universe, and a double headed aries that supports a giant tusk of narwhal.As it often happens in Pier Luigi Pizzi's shenographies, the objects of scene determine the essence of the same scenography. Teatro Lirico, ''Hans Heiling''
Backdrop made of HSE - Tempesta, colour 1 white.The backdrop, installed flat and tense, thanks to the strong light reflection properties assumed with great effectiveness the colorations of the illumination: blue in this case, the scene of the famous Barcarolle.Pier Luigi Pizzi exploited the extreme volatility of the fabric giving it a delicate and continuous superficial movement that conferred to the backdrop a swaying and amazing vitality. Arena Sferisterio, ''Les contes d'Hoffmann''
A costume realized with silver QSP - Mirofilm. [http://en.wikipedia.org/wiki/Un_ballo_in_maschera|A Masked BallMusic - Melodrama in three actsGiuseppe Verdi (1813-1901) Scenography,costume design,stage directionTechnical directionStaging - Pier Luigi Pizzi b>Angelo CanuTeatro Massimo of Palermo
The first scene curtain is a Venetian curtain realized with grey ASC1000S - Sceno width 1.000 cm - Flame retardant.The second curtain, behind the venetian one, is an Swag curtain.The reflecting floor is black TIL - Iris Lucido. Teatro alla Scala, ''Der Rosenkavalier''
The grey backdrop is made of COS - Oscurante, colour 13. Teatro alla Scala, ''Europa riconosciuta''
Some big painted backdrops manufactured with ASC1000S - Sceno width 1.000 cm - Flame retardant. Teatro alla Scala, ''Europa riconosciuta''
Elegance and refinement are the dominant lines of the work of Pier Luigi Pizzi (Milan 1930), scenographer, costume designer and stage director.
Some dominants that at times Pizzi pushed to the limits of preciosity, in other occasions instead always dissolving them with a wise use of the colours and with an ability of synthesis that sometimes reduces his installations to the essential, leaving nevertheless always understand the presence of the solid cultural base on which their project is founded.
A great meaning, in his scenographies, has the use of the objects of scene, that often assume a notable symbolic value that is pushed up to determine the essence of the representation.
His stage installations are built with shapes and volumes, guided by a great architectural rigor and don't disdain the use of machines and theatrical tricks typical of the theater of the Sixteenth and Seventeenth Centuries, a period that he preferred for a long time and with which he often tried his strength.
His works, in Italy and abroad, have been winning innumerable times the most prestigious international prizes of the critics.

Video & Documentation

Arena Sferisterio, ''Les contes d'Hoffmann'': kabuki backdrop made of Silk Tempesta

Arena Sferisterio, ''Les contes d'Hoffmann'': backdrop made of Silk Tempesta

See also ...

Arena Sferisterio, ''Andrea Chénier''

Lyric opera

Arena Sferisterio, ''Les contes d'Hoffmann''

Lyric opera

Teatro alla Scala, ''Der Rosenkavalier''

Lyric opera

Teatro alla Scala, ''Europa riconosciuta''

Lyric opera

Teatro La Fenice, ''Death in Venice''

Lyric opera

Teatro Lirico, ''Hans Heiling''

Lyric opera