Teatro de la Maestranza, ''Così fan tutte''


The sketch of the set designer Emanuele Sinisi displays a silver curtain with vertical fullness.It is foreseen to be realized with a light fabric, with characteristics of reflection and translucency dynamically alternating, during the representation, by means of a lighting system of suitable design.The triangular scene is dominated by a ceiling in which a large oculus opens up.In semi-transparency through the curtain, to illuminate the central part with fuchsia light, the superimposed astronomical symbols of Venus and Mars stand out.
View all
The installation on the stage of the Teatro de la Maestranza in Seville of the curtain made according to the instructions by Emanuele Sinisi.In detail, it is a Traveller curtain 15 x h 8 m made of 51. silver HLU - Lucilla with 80% vertical fullness.A stage technician from the Hispalense theater has just tied it to the carriers with the special WLA - Ties.
Transparency test during the lighting rehearsals.The lighting designer Albert Faura is mixing a grazing lighting on the curtain, which highlights the vertical lines projecting towards the proscenium, with the lighting of the scene behind, where the male and female symbol, made with LED strips, stands out for its power.
The proscenium with the singers in full light.The HLU - Lucilla curtain is illuminated in its peripheral parts, where its silver aspect is highlighted.Its central area and the scene behind it are instead kept in the dark in order to send the purple symbol against the light, which is here given the maximum prominence to the point that it seems to pierce the fabric.
The lighting of the proscenium is also extended to the center of the curtain and it is used to paint it with a slightly golden tone, while the genre symbol has been turned off.The grazing light increases the three-dimensionality of the drapery thanks to the strong contrast between the more hollow and dark vertical lines and the more external and reflective ones.
The lighting of the proscenium and on the curtain is here similar to that of the previous image, but Albert Faura has slightly desaturated it, allowing the HLU - Lucilla fabric to resume a silvery aspect close its natural one.Emanuele Sinisi had the curtain installed at a lower height than that of the fabric, in order to arrange the abundance at its foot with the weight of the WPL - Plomba.The folds that move the surface of the curtain thus take on various slightly inclined directions with respect to the fall that the fabric would have by gravity.
The center of the scene is illuminated by a spot that crosses the oculus, while lower and diffused lights on the walls and ceiling highlight the depth of the scenic architecture.The hall and the proscenium are left in the dark and the backlight transforms the curtain into a veil but, however, its draperies remain well visible.
The traveller opening of the silver HLU - Lucilla curtain against the light.The Florentine scenographic workshop Opera Set created the two walls and the ceiling by means of honeycomb wood elements covered by flat making backdrops made of white ASC - Sceno 320 cm nailed on the back.
Opera buffa in two acts
First night
Vienna, Burgtheater, 26/1/1790

Costume design
Lighting design
Albert Faura (A.A.I.)
Scenographic workshop
Opera Set, Florence
Technical direction
Antonio Moreno
Stage direction

2020 / 2021

Materials used in this production

ASC - Sceno

Muslin and canvas

Flat making

Fabric: typologies of workmanships

HLU - Lucilla

Metallic aspect fabrics

Traveller curtains

Typology of curtain

Vertical fullness making

Fabric: typologies of workmanships

WLA - Tie

Fabric: finishings and accessories

WPL - Plomba

Fabric: finishings and accessories