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Teatro Verdi di Pisa, ''Paride ed Elena''

Pisa

In the frame, a reproduction by Rinaldo Rinaldi of the painting Leda and the Swan, a work of the 1840 of the French painter Léon Riesener (1808-1878). Rinaldo Rinaldi performed the reproduction on a small backdrop made of ASC - Sceno muslin. In the middle of the stage space, partly covered by cloths of red HSE - Tempesta silk, there are six mirrors that the scenographical workshop built using as many mirror panels made of silver QSR - Miroplan.
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The stage space is closed on the sides by two big mobile walls and on the fund by two others analogous flowing walls apparently made of marble and mirrors that quote the galeries des glaces of the Baroque and rococo noble residences. The big mirroring panels were realized with some panels of silver QSF - Miroflex that the scenographical workshop submitted to a superficial treatment to confer them an aged appearance. The flowing walls open on a big Rear-illuminated backdrop realized with the film for rear-projections RAR - Arizona to which, during the show, they were overlapped some backdrops made of BGO - Gobelin tulle and of ASC1000S - Sceno 1.000 cm muslin.
The Rear-illuminated backdrop RAR - Arizona in a different situation of illumination. On the right, another painted reproduction made on ASC - Sceno muslin by Rinaldo Rinaldi of a mythological subject.
A backdrop made of BGO - Gobelin tulle painted with architectural motives that appear in superimposition on an RAR - Arizona screen for rear-projections on which is rear-projected a sea landscape.The light design by Fiammetta Baldiserri and the scenography by Lorenzo Cutuli created with the stage direction «... a visually flowing show, meritorious of attention, where the spaces, the geometries, the choreographic interventions and the gymnastic exercises are intersected in a well studied and realized way, that balances the centers of attention.»Roberto Del Nista, ibidem.
The rear-illumination of the RAR - Arizona backdrop is here almost off and the material shows, in the high part of the backdrop, a colour similar to its own real one. Composed in 1770, during the second and longer period of Viennese permanence, Paride ed Elena is the third opera created by Gluck in collaboration with the livornese librettista Ranieri de' Calzabigi, that placed side by side Gluck in that revolutionary moment of renewal that in the history of the music is known as ''Gluck's operatic reform'' and that includes the most famous Orfeo ed Euridice, dated 1762, and Alceste, dated 1767.
On the right, the the backdrop RAR - Arizona is rear-illuminated with dégradé light. On the left, panels mirrors realized with silver QSF - Miroflex mirror plates that the scenographical workshop submitted to a superficial treatment to confer them an ancient appearance.
The stage space opens here on a gigantic red wave, painted with monochrome technique by Rinaldo Rinaldi on a backdrop made of ASC - Sceno muslin, whose impact is amplified by the reflexes on the QSF - Miroflex mirror panels of the side walls.
«The stage direction by Andrea Cigni chose the architectural sobriety of a side fixed scene that leaves wide spaces to the action (transposed to the time of the Belle Époque) and to the vision of Arcadia's perspectives filtered by the optics of beginning '900, with the action supported by the technologies of the Positivism (bicycles, photographic devices, a swinging horse).A direction with innovative ideas that, contrarily to what often happens, doesn't disturb and neither jeopardizes the native dramaturgy.»Roberto Del Nista, in L'opera, n. 224.
Drama for music in five acts
Music
First night
Vienna, Burgtheater, 3/11/1770

Scenography,
costume design
Pictorial realizations
Rinaldo Rinaldi
Light design
Fiammetta Baldiserri
Technical direction
Piero Benetti
Stage direction
Andrea Cigni

Co-production
Progetto Opera Studio
Teatro Carlo Goldoni of Livorno
Teatro del Giglio of Lucca
Opéra Royal de Wallonie of Liège
Season
2007/2008

Video & Documentation

Rinaldo Rinaldi: the magic of the painted scene

Materials used in this production

ASC - Sceno

Muslin and canvas

BGO - Gobelin

Scrim and bobbinet fabrics

COS - Oscurante

Duvetyne and blackout fabrics

Flat making

Fabric: tailoring types

HSE - Tempesta

Silks and satins

QSF - Miroflex

Mirroring materials

QSR - Miroplan

Mirroring materials

RAR - Arizona

Rear-projection films

Rear-illuminated backdrops

Vinyl backdrops: typologies

Information on data processing