![]() ![]() The final lighting effect where everything turns to white was powerful as it gave a sense of calm and peace, which matched perfectly with Verdi’s score that ends with a heavenly chord. In Act four, black dominated with simple cuts that gave it a look of a church and then a hilltop. It was perhaps the most visually stimulating moment of the evening and the most original. The projections were demented, almost nightmarish as the heads of skeletons started spinning and eventually became distorted, emphasizing the chaos adding to this were the dancers, who wore skeleton masks. The background saw projections of bombs going off and in the final scene with the encampment, Kokkos really experimented with the tarantella. There was also a projection of a cross in the background as the cross of monks came into the scene for “la Vergine degli angeli.”Īct three saw destroyed buildings that were represented by black carveouts. In the second act we saw a wide open space with tables, while in the second scene, a cross dominated on stage right with a door in the back. In the first act, we saw a painting on stage left with a white open door in the middle. Kokkos’ production depends on simple minimalist tableaus lit with blacks and whites. How a director goes about approaching it can be a huge challenge.įor the Festival Verdi, they found a great director in Yannis Kokkos. ![]() The final production of the Festival Verdi was “ La Forza del Destino,” one of the most difficult of Verdi’s work to present.Īside from its massive cast, the work also requires multiple set changes and an epic landscape.
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