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e g t r n a d a e o r r F o V D P Pier Luigi Pizzi Aida by Giuseppe Verdi The Magic Flute by Wolfgang Amadeus Mozart artistic direction, sets and costumes by Massimo Gasparon artistic direction, sets and costumes by Pier Luigi Pizzi a decade of stage design Macerata, Sferisterio Opera Festival, 2006 Macerata, Sferisterio Opera Festival, 2006 and artistic direction by Ivana D’Agostino

1996 g he decade of stage design and artistic direction From Baroque here considered is done so through a sampling of 2006 works regarded as significant in supporting the theatre to an theory introduced by the title: that is, the passage erudite journey from the exhilarating, grandiloquent opulence of the of Masonic scenery and the abundance of “surprise elements” inherent in Baroque theatre to the essentiality of the initiation rite message, albeit rich in symbolic citations, through expressed in the erudite journey of the Masonic initiation rite, the overall theme for the operas transgression billed for the 2006 edition of the Sferisterio Opera and reason, Festival, annually held in Macerata, Italy. A refining process of the visual language that conforms to the exoticism, myth nobility of meanings implicit – expiation- and fable. redemption, catharsis, extreme sacrifice in the pursuit of absolute values – themes previously touched upon in two productions: The Magic Flute for the Rome Opera House and Tancredi for the Rossini Opera Festival, respectively staged in 2001 and 1999. If the 2001 staging of The Magic Flute appears greatly different from the Sferisterio edition in that the sacredness of the priests who, at Macerata, subject Tamino to a philological initiation rite of the first-degree, in Tancredi the solemn monumentality of the scenic apparatus corresponds to the ideals of Enlightenment contained in Voltaire’s text; of which the tragic finale was revived at the i

Rossini Opera Festival in Pesaro, contemplated at n i h

Brescia in Rossini’s version, in the archive of Count c c o

Luigi Lechi. The death of Tancredi, rendered yet b a T

more dramatic by the raked platform on which it . A

occurs, in the appreciation of the love for one’s o t o h

country as an end superior to his love for Amenaide, p considers directing and design solutions relative to Turandot by Giacomo Puccini artistic direction, sets and costumes by Pier Luigi Pizzi the rigours of Enlightenment antecedent to those Macerata, Sferisterio Opera Festival, 2006 adopted at Macerata. Aida by Giuseppe Verdi artistic direction, sets and costumes by Massimo Gasparon Macerata, Sferisterio Opera Festival, 2006 But the path towards superior levels fusion of the arts is traced; with Duparc-Baudelaire as the starting-point, through Rossini-Metastasio, Bizet, Poulenc, Satie of knowledge presented at Macerata and Cole Porter we are taken on a full-scale exotic and spiritual journey, certainly consistent with the 2006 Festival of from the underlying theme Macerata project, not least with Pizzi’s concept of the all-round planning and design of a stage production: a concept already programmed for the 2006 season at prevalent in Baroque theatre, having found fresh impetus in the syncretism among the arts of the late-nineteenth century, the Sferisterio, including operas such then imbued with a markedly radical vigour as it evolved into the avant-garde of the twentieth century. as The Magic Flute, Aida and Within this logic, and following a lengthy collaboration with Strehler, De Lullo and Ronconi, Pizzi’s directorial Turandot, a repertoire of lyric opera in achievement, already well-established by 1977, was not incidental. Channelled through one individual’s interpretation which, as a counterpoint, appear of the drama, the production thus conforms to a stylistic unity, endowing it with a precise reading – of both text and Ferruccio Busoni’s Thamos König in scene – such as to render it consistent in all its parts and recognisable in its singularity. Ägypten and Turandot, regards In this sense the choice of a technical team is vital: the visual effects on stage would not be so if it were not for Sergio Rossi’s musicians whose works were written lighting, the costumes would not drape properly if Pizzi were not supervising the selection of fabrics and the costumes were between the end of the eighteenth not built by long-established houses such as Rome-based Tirelli, the wardrobe department of the Arena di Verona or the century and the first two decades of atelier of Elvia Mengoni, who supervised the costumes for Aida designed by Massimo Gasparon. Choreography, of such the twentieth century. A chronological relevance in Baroque and avant-garde theatre, contrary to the current tendency to consider dance a “minor event” in theatre, span amply diversified and full of also assumes a just prominence in Pizzi’s artistic direction. George Janku’s choreography for Aida, Egyptian-style with a stylistic and literary suggestions dancer’s twirling of veils à la Loie Füller in the triumph of Radamès in the second act, as well as his choreography for alluding to the rigours of Turandot, are preceded by those for the 1997 Macbeth and for the 2005 production of La Gioconda, both staged at the Arena Enlightenment, and to Egyptian and di Verona. Just as prominent, Janku’s choreography for Thaïs, Le domino noir and Les pêcheurs de perles, at the Malibran Chinese exoticisms, contiguous to in Venice, staged respectively in 2002, 2003 and 2004 (Thaïs is also programmed for La Fenice for the 2006-2007 season), pastoral dramas often combined with further underline Pier Luigi Pizzi’s readiness to give due prominence and validity to dance, where appropriate, as an integral Baroque manoeuvres: an eclectic part of a production. repertoire of the late-eighteenth The importance attributed to the lighting and to the use of the body to express inner moods, coupled with the creation of century, that the successive Universal texts that are ever more radically irreverent and unconventional, can be traced back to the undeniable theatrical Exhibitions of the nineteenth century experience of the twentieth-century avant-garde. Along these lines moves La pietra del paragone billed at the Rossini opened up to new exotic cultures, to Opera Festival in 2002. The party atmosphere populated by guests in elegant seventies-style dress, who mingle in the fresh mysteries and fantastic subjects. Rationalist villa and its grounds, cast Rossini’s sophisticated light opera in a modern context, using modern directing Those same subjects that, techniques, mediated by twentieth-century painting. Paintings by Burri hung in the villa belonging to Count Asdrubale reflect reinterpreted by decadent symbolism Pizzi’s taste for cultural and aesthetic appreciation that is not confined to antiquarianism, a predilection already evident in the between sensuality and sin, were exposition of his collection of contemporary art, at Bibbiena in 1996(1), which includes works by Casorati, Sironi and Manzù. The often radically modernized by new, choices made at the Lauro Rossi theatre during the 2005 Macerata season, however, were more radical, partly for the adoption of more ironically transgressional texts texts from avant-garde theatre, such as Cocteau’s Le bel indifferent, and Les mamelles de Tirésias by Francis Poulenc – who took of twentieth-century theatre. This was inspiration from the text of the same title written in 1903 by Apollinaire. The inclusion of these two productions in the 2006 a period of time which nevertheless programme clearly represents a kind of warm-up to the innovative Turandot by Ferruccio Busoni: a musician of European scope stretched beyond the limits of 1926, not by chance esteemed by artists of the avant-garde. Umberto Boccioni, who was a friend of his, painted his portrait in 1914, and the year in which Puccini’s Turandot Feininger, one of the most sophisticated experts on Bach, at the Bauhaus in Weimer around 1920, loved to play “ll clavicembalo was staged with Invitation au voyage, ben temperato” on the organ in his studio, in the version by Bach that Busoni had given him. Macerata with Busoni worthily the recital held at the Lauro Rossi continues the openings on twentieth-century theatre begun in 2005. These choices indicate Pizzi’s ever expanding horizon towards theatre, which closed the Festival new objectives in research, as he already showed previously with the adaptation of the text of Le bel indifferent, the fruit of his season at Macerata. Invitation au collaboration with the musician Marco Tutino. Pizzi teaming up with Tutino evidently creates a precedent in the above-mentioned voyage, as interpreted by the recent collaboration between Pizzi and the baritone Antoniozzi, for the selection of musical passages from Invitation au voyage. Thus Sferisterio’s artistic director Pier the principle of a creative unity between theatre, music, painting, melodrama and dance increasingly finds a basis: a programme Luigi Pizzi, is a compendium, an comprised of a synthesis of genres, leading to a fusion of the arts largely between Baroque theatre, late nineteenth-century epitome of music and literature on the culture and the more extreme frontiers of the European avant-garde, can also be put into act today, on condition that there is a i n i lines of Baudelaire’s Parnassian h sharing of ideas to set in motion the means for renewal. c c o

poetry, from which it takes its title. b The development of the analysis on Pizzi’s work in a decade of theatrical productions, as this essay is unable to view the a T

From the pieces of music selected by . work of this maestro in its entirety, is a basic prerequisite in appreciating that the Sferisterio Opera Festival di Macerata A o maestro Pizzi together with the t 2006 season is the result of successive phases, productions and artistic direction embracing multiplicity, geared towards o h baritone Alfonso Antoniozzi, an ideal p an increasingly whole and unifying method of staging a complete production, impossible to achieve or at best realized only in part without the coordination of the various expressive languages governed by the single project. ini ch oc ab . T A oto ph

Turandot by Giacomo Puccini artistic direction, sets and costumes by Pier Luigi Pizzi Macerata, Sferisterio Opera Festival, 2006 With this new outlook, given a definite artistic direction, the Macerata programme of last year has acquired a European of a hundred and fifty performers on stage. scope of a Festival, following the 2004 and 2005 editions that hinted at things to come through Pizzi’s artistic direction As in Le nozze di Teti e Peleo, the last among Pizzi’s Baroque operas taken into consideration, it is still the echo of Armide of Les contes d’Hoffmann, Les mamelles de Tirésias and Le bel indifferent. to direct the flurries and triumphs of this musical fable of Rossini, the grandiose magnificence of which, however, is The European atmosphere that pervades these operas takes us back to Armide, the tragédie lyrique by Cristoph Willibald Gluck already confronted with the solemn loftiness of Jacques Louis David, in the apotheosis, of an evidently Napoleonic taste, from which forms the basis of our analysis. Staged twice, in 1996 and in 1999, at the Teatro alla Scala in Milan, Gluck’s opera of the marriage of Thetys and Peleus. expresses the centrality of a key work, a perfect exercise in late eighteenth-century Baroque theatre modernised by the And with David the Enlightenment philosophy of European culture makes an entrance – to which Gluck, too, adheres, Enlightenment sensibilities of Rousseau and Diderot. On the eve of the French Revolution – the opera was first staged in 1777 though in moderation –shared by the most advanced minds of that period. The architect Ennemond Petitot soon counted – the dramaturgical thread of Quinault’s libretto, in putting forth universal sentiments common to all, established a model of himself among them, with the project for the Parco Ducale in Parma, in which he realized a rare example, within an urban European theatre that went beyond the nationalistic tendencies of that time. Coherent with this interpretation, Enlightenment area, of a French-style garden of harmonious proportions. Pizzi, for the Armide garden plans the Cartesian space of a and Baroque grandiloquence coexist in Armide, defined by Pizzi himself as an “evidently cultural space”(2). geometric labyrinth. The principle that governs the idea of “natura artificialis” leads him to use the chorus while expunging And it undoubtedly is, constituting a kind of drive-belt for the stage productions and exhibitions that take place both before and it of every human semblance. To extraordinary visual effect, only the heads of the singers appear above the hedges, adorned after. An element unifying the entire development of Armide is the “Baroque picture-gallery”: a scenic frame of seventeenth- with headdresses that make them seem a fitting arboreal completion to the “rationalised garden” of Armide. This garden, century paintings, evocative of the erudition of the period that gave form to the space of the Grand Galerie. The taste for a new among the solutions gleaned from neoclassical architecture, introduces a more radical idea to his stage design. Gluck’s collection of European elements that marks this stage design is closely connected to Pizzi’s interest in seventeenth-century opera, as we see, in a key way coordinates two decades of theatre productions and exhibitions inspired by the Baroque. But painting, as demonstrates his own important seventeenth- and eighteenth-century collection(3): possessing a thorough knowledge, the garden of Armide, which is an intellectual space, ordered by the precise layout of Petitot – Pizzi, in 1997, following fundamental for the mounting of the exhibitions on the seventeenth century curated by him at the Grand Palais in Paris in 1988- Armide, curates the mounting of the exhibition entitled: Petitot: un artista del Settecento a Parma – carves out from the 1989 with Arnauld Brejon de Lavergnée, and in Genoa in 2000-2001 with “El siglo de los genoveses”. context of the opera his own niche, indicative of future research. Pizzi’s brand of unstinting professionalism in mounting these great exhibitions is no different, for the care with which he Way before the garden of Armide, a hint of the spatial solutions and the innovative embellishments of Petitot, is to be dedicates to every single detail, to that employed in his stage productions. The symbolism of the five senses in Flemish found in the edition of Rossini’s Semiramide staged in 1980 at the Festival of Aix-en-Provence. If, in the triangular form painting, taken up in Armide as an underlying theme throughout the entire opera, in the fourth act interprets, with food created by Pizzi for the temple behind Arsace, is refigured a Canovian model – progressively devoid of any plastic representing the sense of taste, the seductive intentions of Lucinde and Mélisse. Before being staged at La Scala, the 1992 attribute in the passage from here to its reinvention in the temple of Iside in Gasparon’s designs for Aida at Macerata – staging of Armide in the theatre at the luxurious palace of Versailles - an ideal location, rather than Paris, to commemorate the costumes for Semiramide, clothing characters stiff in statue-like poses, instead realize in full the three-dimensional the ostentations of the Sun-King - Pier Luigi Pizzi, in 1994, mounted the extraordinary exhibition entitled “Les tables models suggested by the architect Petitot in his illustrations on “Mascarades à la greque”(6). royales en Europe”(4); a reflection of the sumptuously laid tables depicted also resurfaces in Armide, in the table that With Thaïs by Massenet, a comédie lyrique first staged at the Paris Opéra in 1894, we enter into the decadent climate of appears from beneath the stage. The mounting of the exhibitions entitled “Magnificenza alla corte dei Medici” (1997-1998) Orientalist inspiration so dear to late nineteenth-century culture. The essence of which is traced in the novel by Anatole in Florence, “La Civiltà dell’Ottocento” (1997) in Naples, and the exhibition on “Divina Eleonora” in 2001 at the France, which goes back to the atmosphere of a Graecizing Alexandria, then picked up in the libretto by Gallet. Fondazione Cini in Venice, though considered from different eras, all share the same grandeur that is celebrated in Gluck’s In Thaïs, in the dance of Afrodite the dancers’ graceful poses evoke the stylised gods and heroes of Greek vase paintings, opera, and are equally attentive to the aristocracy’s etiquette of observing appearances, which from the courts increasingly motifs of great interest at that time, as was the new direction taken in modern dance by Isadora Duncan. Pizzi’s trilogy extended to theatre and the visual arts. realized between 2002 and 2004 for the Malibran theatre which, in addition to Thaïs includes Les Pêcheurs de perles Clearly fundamental in delineating an entire Baroque season, which epitomises and anticipates future developments that and Le domino noir, newly reinforces this artist’s interest in European theatre with its exotic and mythical subjects, then go way beyond the limits of the “rationalised Baroque” perceived by Maurizio Fagiolo dell’Arco, Armide coordinates a so popular in France, which drew ideas from adventure stories, from decadent literature and from new scenarios variety of Baroque productions that precede it. Among these are cited those for Vivaldi’s Orlando Furioso, staged at the presented by the Universal Exhibitions. Not by chance, one thinks, for its mystery and the sensuality in line with what Teatro Filarmonico, Verona in 1978, and Händel’s Ariodante at the Piccola Scala, Milan in 1981, then staged in Reggio the late-nineteenth-century collective imagination drew from the Orient, was the restaging of Les Pêcheurs after twenty Emilia in 1982 and in Nancy in 1983. Also of note, Les Indes Galantes at the Théâtre Châtelet in Paris and then at La years absence, specifically at the time of the prestigious Universal Exhibition of Paris in 1889. From these three operas Fenice, Venice, and Hippolyte et Aricie in Aix-en-Provence, both staged in 1983 and both set to music by Jean Philippe numerous cues can be drawn that link themselves to Macerata: the fresh impulse given to dance to highlight evocative Rameau. Also set to music by Handel, the Rinaldo staged soon after, in 1985, in the Teatro Valle, Reggio Emilia, reveals moments of visual and psychological power, a direct strand that serves as a bridge between the fables of Le Pêcheurs and an key fulcrum of reference in that period “for the enjoyable rediscovery of great theatre”. Turandot, through the white veil that conceals from the eye the purity of the priestess Leila to those red, double-layered With Bach’s oratory, St. John Passion, produced the previous year at La Fenice in Venice, a work considered to be ”l’un veils among which appears Turandot in the first act; the choice of operas rarely seen in public, such as Le domino noir, des plus beaux spectacles de Pizzi”(5), the lighting and the plastic poses of the bodies on the three crucifixes immediately given a splendid Déco dressing, precursor to the Chinese-lacquer red cabinet from Expo 1925, of the mobile background call to mind great paintings by Caravaggio and Rembrandt. The prominence also given to the decoration of the altars and of Turandot. The preference given by the Malibran in Venice to Le domino noir - highly sophisticated in its drawing the Baroque carriages in the Passion, which articulate the cultural and aesthetic nature of research, the apex of which is of inspiration from Behrens and from capes designed by Erté and Poiret for the nun’s habits of the third act – does always Armide; but it is also in the use of the space, here expanded from the stage area to the entire auditorium of La not distance itself from that of the Lauro Rossi Theatre in Macerata between 2005 and last year, which brought texts Fenice, that we perceive a new requisite. The same need that induced Pizzi to create the extended forestage between the of great subtlety, such as Les mamelles de Tirésias, Le bel indifferent and the reading in German for singers and stage front and the audience – enclosing the orchestra in the intermediate space – at the Rossini Opera Festival in Pesaro orchestra of the above-mentioned Turandot by Ferruccio Busoni. The philological rigour with which Pizzi also for La pietra del paragone in 2002 and for Le nozze di Teti e Peleo in 2001. Spatial solutions to be considered as the handles the text, by usually privileging the original version, puts back on track the decade of stage design and precedents closest to the work of restoration, on Pier Luigi Pizzi’s behest, of the stage area of the Sferisterio in Macerata; artistic direction that he considers, bringing us back to Armide. The reintegration of the fourth act of Gluck’s now at a more raised level with respect to the previous, in order to meet new technical requirements, and extended in opera, usually cut as considered “incidental to the main story-line”, is totally cohesive with the treatment given to depth by a hundred metres so as to facilitate the movements of a massed cast, which with this year’s Aida reached a total Les contes d’Hoffmann, staged at Macerata in 2004, following the “traditional version” of 1907 and which does include the fourth act. A consistency that does not even waver from the logic adopted at Pesaro for the 1999 edition of Rossini’s Tancredi: a heroic melodrama brought back to the level of Voltairean heights that had inspired him to reintegrate the text with its original tragic finale. The clarity in the planning of Tancredi(7), architecture which is space but also place of rational thought, together with The Idomeneo by Mozart Magic Flute for the Rome Opera House staged in 2001, were viewed as the authoritative precedents of the path towards artistic direction, sets and costumes by Pier Luigi Pizzi knowledge, symbolically expressed in the works chosen for the 2006 season of the Sferisterio Opera Festival of Ancona, Teatro delle Muse, 2002 Macerata. The Enlightenment concept of the tragedy Tancréde, which inspired Tancredi, also guides the sapiential journey of Masonic inspiration undertaken by Tamino in order to reach the light. Codified in the detailed initiation ceremony of the first-degree to which the new brothers are submitted as they gain entry to the Lodge, faithfully reconstructed by Pizzi with the help of Guido Biscuolo, The Magic Flute staged at Macerata reinvests the opera with all the didactic meaning that Mozart attributes to it. The search for truth within a superior order, achievable only by accepting the trials necessary in order to attain it – this in synthesis is the narrative framework of Mozart’s Flute – unifies in a single project all the operas billed at Macerata. The Thamos, closely linked with, yet written prior to the Flute, sanctions and makes official Mozart’s Masonic faith as he joined the Zur Wohltätigkeit Masonic Lodge in Vienna, in 1774. In Aida, too, the pyramid structure that forms a backdrop in the previously mentioned scene, with its access door suggestive of the threshold, that which marks the passage towards transcendental heights, is strongly suggestive of Canova’s tomb for Maria Cristina of Austria, the design of which was full of symbols taken from “the art of masonry”, and is ascribed to the Masonic ideals shared by Antonio Canova himself. In Verdi’s opera, another director’s solution by Massimo Gasparon to visually emphasise the design aspects of the temple is that adopted for the choreographies of the Egyptian guards, in the crossed movements of their lances that open up and meet to form a compass in the scene that closes the second act. Of great interest is Pizzi’s choice of artistic direction in inserting as a counterpoint to Puccini’s Turandot the lesser known Turandot by Ferruccio Busoni; the distance taken by this musician from Lucca is not measured solely by his tighter adherence to the text of Gozzi’s fable. Puccini’s Turandot also moves in line with the directives of the Macerata project: here, the psychological complexity of the heroine takes on the lights and the shadows of her soul tormented by the opposing sentiments of hate and passion. The Goddess Kannon, seated at the central door of the scene’s modelled backdrop in Deco style à la Schliepstein, symbolises the compassionate nature of this Chinese female divinity, whose vow was that of not reaching Nirvana while there were still souls wandering in torment. The stage entrances and exits of Turandot, whose cathartic journey towards redemption through love appears to be symbolically guided by the protective wing of this goddess, principally take place through this opening; another threshold, like that of the temple of Aida, to signify the attainment of a superior vision, made possible only through a necessary process of purification. In Turandot this is symbolically suggested by the change in colour of her costume from red to the white of the gown of the third act, and by the lighting by light-designer Sergio Rossi to Pier Luigi Pizzi’s specification, who uses an effective range of reds and violet to both interpret and emphasise the horror experienced by the Chinese populace and the crowd movements; these chromatic effects thus bringing to mind the sunsets on Me-Num painted by Galileo Chini during his voyage in Siam. In this digression on Pizzi, Turandot takes on a relevant role for the modern conception of directorial and visual solutions implemented, that are of considerable cultural impact and depth. The opera’s striking chromatic effects receive greater emphasis in the use of lighting: the effects of blood being shed photo L. Romano in the first and second acts, alluding to the cruel nature of the princess, are splendid, and beautiful indeed is the procession of lanterns, filing in double-line across the stage. This not only recalls the nocturnal parades of the Bauhaus festival of lanterns but also the Chinese lanterns that invade the stage in another Turandot by Pizzi, in 1969(8), directed by Luigi Squarzina. The death of Liù also finds the right epilogue in the lighting, in the sharply distinct separation of the finale between the darkness in which half the stage is confined and the livid colour that illuminates with solemn composure the other half of the space reserved for action: the coffin raised, the long procession silently accompanies offstage the maiden who sacrificed herself for love. St. John Passion by Sebastian Bach artistic direction, sets and costumes by Pier Luigi Pizzi Venice, Teatro La Fenice, 1984 But another love, finally experienced, is that with his back to the audience, his arms raised of Turandot, whose vocal breaks of Fauvist towards the temple of Iside. By contrast, in colouring, tending towards melodious Turandot, the death of Liù allows the lead innovations not unlike those to be found in (9) characters to journey together, analogous to Chini’s paintings , accentuate the character’s that which happens with Tamino and Pamina in same existential and problematic nature The Magic Flute, the spiritual path of ascesis, common to the new heroines of late- the reward being the light and the knowledge of Salome by Strauss nineteenth-century melodrama. The sentiment artistic direction, sets and costumes by Pier Luigi Pizzi universal love. Reggio Emilia, Teatro Municipale, 1984 finally fulfilled between Turandot and Calaf puts A value that, in its being without into motion a director’s modern solutions of great boundaries, involves love in both its basest emotional intensity. We are by now very far from aspects, defined in the combination the cold abstraction of the love expressed in the seduction-perdition, and its more elevated singing of “Le plaisir” in Armide, the lofty style of aspects, accessible only to those who tend which converted pleasure into the prescribed towards a pure and absolute love. Within model of ecstasy accepted by the culture of that this logic lies the underlying theme of the epoch. The embraces between Turandot and Calef voyage towards the light that had inspired by contrast communicate the feeling of a real the 2006 Festival of Macerata, in which the passion. The way in which he holds her and lifts chosen operas develop a narrative that is her while seized with joy, to which Turandot circular in form, as does this essay. finally abandons herself to happiness – barefoot Beginning with Armide, “the enchantress and radiantly beautiful, of an elegance devoid of that bewitches for ever those who look frills, framed only by her waist-length hair worn upon her”, but from whose spells Renaud loose – makes of her a present-day character that frees himself thereby bringing about her goes beyond the limits imposed by twentieth- end, one concludes, so to recommence, century mores. ideally without delay, with Turandot. The Also in Aida, Gasparon’s direction throws light on bloodthirsty cruelty of the princess cuts no the love between the Ethiopian slave and ice in the confrontation with Calaf, against Radamès, opening and closing the opera with the whom she is unable to triumph, she herself long embrace between the two. Aida’s sacrifice remaining vanquished by his sentiment, leads Radamès to perceive the way towards a new much stronger than the hate that awareness that he will search for alone, as imprisoned her heart. indicated by the final scene, which frames him

photoP. Gnani Semiramide by Gioachino Rossini artistic direction, sets and costumes by Pier Luigi Pizzi Tancredi by Gioachino Rossini Festival di Aix-en Provence, 1980 artistic direction, sets and costumes by Pier Luigi Pizzi revival: Venice, Teatro La Fenice, 1992 Pesaro, Rossini Opera Festival, 1999

photo Arici and Smith photo Amati Bracciardi Armide by Cristoph Willibald Gluck, artistic direction, sets and costumes by Pier Luigi Pizzi Milan, Teatro alla Scala, 1996. Act I i t t o s a M d n a i l l e L o t o h p i t t o a s r a e s M

o r d n C a

. i l l M e

L o

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Les Pêcheurs de perles by Georges Bizet h o p h

p artistic direction, sets and costumes Armide by Cristoph Willibald Gluck by Pier Luigi Pizzi artistic direction, sets and costumes by Pier Luigi Pizzi Venice, Teatro Malibran, 2004 Milan, Teatro alla Scala, 1996. Act V, Interior, Armide‘s palace photo M. Crosera Thaïs by Jules Massenet artistic direction, sets and costumes by Pier Luigi Pizzi Venice, Teatro Malibran, 2002 photo M. Crosera

photo Amati Bacciardi

La pietra del paragone by Gioachino Rossini artistic direction, sets and costumes by Pier Luigi Pizzi

Les Contes des Hoffmann by Hoffenbach artistic direction, sets and costumes by Pier Luigi Pizzi Macerata, Sferisterio, 2004

photo A. Tabocchini

Le domino noir by Daniel Auber artistic direction, sets and costumes by Pier Luigi Pizzi Venice, Teatro Malibran, 2003 Maometto Secondo by Gioachino Rossini artistic direction, sets and costumes by Pier Luigi Pizzi Venice, Teatro La Fenice, 2004/05 Le bel indifférent by Marco Tutino artistic direction, sets and costumes by Pier Luigi Pizzi Macerata, Sferisterio, 2005 by Paolo Scotti

Notes 1. Pizzi’s interest in contemporary painting, generated, in addition to his studying architecture, by his attending the Accademia di Belle Arti di Brera, is I X very time a curtain is raised on one of his shows, it is mentioned by Maurizio Fagiolo dell’Arco in his recollection of the scenographer’s time spent in Rome between 1950 and the late 1960s. Already in possession Z met with an "ooooh!" of wonder - whether real or of a number of important paintings by twentieth-century masters, his acquaintance with artists from Rome’s Piazza del Popolo and others, based on a shared metaphoric – from the audience . It really is difficult to passion for the arts, led him to widen the scope of his contemporary collection with new acquisitions by Schifano, Fabrizio Clerici, Vespignani and Lorenzo Z

Tornabuoni. Pizzi’s collection of contemporary art, in like manner his prestigious collection of seventeenth- and eighteenth-century paintings, transmits through I remain indifferent when watching a production designed his choice of paintings from Metaphysics, twentieth-century style, and Schifano’s acrylics his taste for collecting which, according to Antonio Paulucci and of by Pier Luigi Pizzi. There is something in his art that is which I am in complete agreement, uniquely belongs to the “majestic class of the pure connoisseur”; M. Fagiolo dell’Arco, Un “Grande stregone” amico della P much more than being unique or memorable or pittura, in “La Collezione Pizzi. Una Quadreria del Seicento” (exhibition catalogue), Parma 1998, p.104; A. Paolucci, Come in uno specchio, in “La collezione extraordinary. It is something magical. Pizzi” quoted, p.15. I A career spanning fifty years, with over five hundred

G productions staged, reaching a total of seven hundred-and-fifty

2. A. Triola, A colloquio con Pier Luigi Pizzi, in “Armide” (theatre booklet), ed. Teatro alla Scala, Milan 1996, p. 114. H I if one includes the revivals. In his youth, no formal training, if Pier Luigi Pizzi’s collection of seventeenth- and eighteenth-century European art, put together with a sharp eye to quality and beauty, encapsulates the artist’s not that provided by the stage, through hands-on experience,

3. U aesthetic and cultural universe recreated by his Baroque theatre productions. Given a high profile in Armide, the importance given to painting within Pizzi’s T and by his intense passion as an avid theatre-goer. And after I scenery is evident long before its manifestation in his collections of antique and contemporary art. In Goldoni’s L’avaro, staged in 1951 at the Fenice in Venice, L decades of memorable sets, costumes and artistic direction of when Pizzi was a very young man, he communicated the lead character’s vice of miserliness by making him cover the paintings in his house with heavy curtains, theatrical productions that have made history in Italian theatre so as to protect them from the ruinous menace represented by the light. By contrast, the much more spectacular proportions of the effect created by large paintings and opera (from the dazzling Gioco delle parti to the Flemish R

enclosed in golden frames “among the dull spaces of the walls” that descend from above in the first and second acts of Verdi’s Nabucco, for the Maggio Fiorentino W in 1977. The pleasure that Pizzi derives from art is also fully expressed in his mounting of large exhibitions, some of which are mentioned in this essay, so Malato immaginario; from the electrifying I Vespri siciliani to

scrupulous in recreating the spirit of the age in which these works originated, restructured from iconographic sources provided by the paintings themselves and E the legendary Orlando Furioso; from the excellent Pietra di by the visual arts. I paragone to the moving Tancredi: how could one possibly cite N

Historical paintings from Pier Luigi Pizzi’s collection were exhibited in Parma in 1998, and in 2000 in Corsica at the Musée Fesch. Information on the collection P them all?), Pizzi has, in theory, finally come full circle in in: La collezione Pizzi. “Una Quadreria del Seicento” (exhibition catalogue) quoted.; “Les Arts en Scene. Una Quadreria del Seicento” (exhibition catalogue - designing for the theatre, in that he has now also become

Ville d’Ajaccio, Musée Fesch), ed. FMR, Milan 2000. O artistic director of the Sferisterio Opera Festival which, thanks Additional information on designs for the stage and exhibitions mentioned in this note in: “Pier Luigi Pizzi alla Fenice” (curated by M. Ida Biggi), Marsilio ed., Venezia 2005, p.18; “Pier Luigi Pizzi. Inventore di teatro” (curated by L. Arruga), Allemandi ed., Torino 2006.[a richly illustrated Nabucco on pges. 85-93]. I to its matchless ‘imprinting’, has gained renown and prestige on an international level. Indefatigable, prolific, always 4. From this exhibition in which “the fake and the plausible alternate with the authentic, precious china and glassware and the sumptuous ornamentation” (M. T prepared to explore and rise to the challenge, he is currently Fagiolo dell’Arco), the intellectual pleasure gleaned from the display of food symbolically representing European court life is clearly evident. The care with which working on the usual stack of future projects: the first night of Pizzi dedicates to the laying of the tables modelled on the lavish style of Flemish sumptuously laid tables is again evident in the “extraordinary laid tables” of A the Fenice with Meyerbeer’s Crociato in Egitto on the 13 the 1997 exhibition in Florence entitled “Magnificenza alla Corte dei Medici”. The adorned tables featured in the exhibition on nineteenth-century culture entitled

S January 2007; the return to theatre with Goldoni’s Una delle “Civiltà dell’Ottocento”, held in Naples in that same year, by contrast display a measured sobriety conforming to the neoclassical style. On the Versailles exhibition there is ample documentation in: “Versailles et les tables royales en Europe: XVII ème – XIX ème siècles: Musée national de châteaux de Versailles ultime sere di carnevale; the restaging of Pietra di paragone in

et de Trianon”, Paris 1993. R Madrid and Falstaff with Raimondi, in Bologna; then Thaïs in Venice and, in 2008, Donizetti’s Maria Stuarda at La Scala and

5. D. Fernandez, Pizzi le Magnifique, in “Les Arts en Scene” quoted, p.11. E Monteverdi’s trilogy of Orfeo, Ulisse and Poppea, again at the Real in Madrid. All this – and here’s the magic – with a References to the operas in Rossini’s “serious repertoire”, specifically the Semiramide of 1980, are given by Lorenzo Arruga, who attended the first night of 6. V constant, absolute, incredibly light touch. Because Pier Luigi Aix-en-Provence. Of this legendary evening he says: “At the first performance, the rain fell during the duet by Semiramide and Arsace in the second act. The stage area, though covered, became waterlogged, but we knew immediately that the show would go on. A heavy, incessant rain drenched those of us out in the Pizzi, though considered one of the world’s greatest exponents

open, but no-one ran for shelter. It felt as if we were all an allegory of the music.” N of opera and theatre productions, does not indulge in Arruga’s account, from which this passage on Semiramide is taken, neatly summarizes Pier Luigi Pizzi’s entire artistic career from its beginnings to the present intellectual posturing. He does not imitate himself, nor spurn

day. The book from which this passage is taken, richly illustrated and subdivided into topics related to various themes, at last providing us with a chronologically O new horizons or resort to stylistic short-cuts. In a nutshell, he complete spectrum of Pizzi’s stage productions, constitutes an indispensable reference source that is no longer fragmentary on this Milanese director-designer’s is ingenious, without striking the pose of a genius. stage productions: “Pier Luigi Pizzi. Inventore di teatro” (curated by L. Arruga), Marsilio ed., Torino 2006. C What is the secret behind all this magic? What lies beneath the boundless and in large part captivating work of one of the key 7. Pizzi’s sets for Tancredi for the Rossini Opera Festival in Pesaro number three. In the first two productions – the first staged in 1982 in neo-Gothic style, resplendent with its transparent glass panels, the second produced in 1991, immersed in an atmosphere of Medieval jousting tournaments – the corresponding creators of twentieth-century theatre? The answer is banal yet self- architecture of the sets is appropriate to the two different finales with a happy ending written by the author. The 1999 production, in favouring the tragic finale evident: a love for the theatre… of Tancredi as conceived by Rossigni from the archive of Count Lechi consequently inspires Pizzi to design scenery that conforms to the moral significance that “When I saw my first drama”, he recalls, “I understood underpins the work. Information and photographs illustrating the sets from 1982 and 1991 in “Pier Luigi Pizzi. Inventore di teatro” quoted, p.229; pges. 256-259. immediately that this had to be my world. That I had to do whatever it took to become a part of it. At the age of 8. Reference material, previously given by Arruga in another critical analysis on Pizzi’s theatre productions between 1960-1980, is further developed by the seventeen, I heard that Giorgio Strehler was looking for mime author in the quoted “Pier Luigi Pizzi. Inventore di teatro”, p. 122. artists for a Richard II at the Piccolo Teatro in Milan. I showed 9. The note made by Cristiano Veroli in his paper held on 30 July with as its theme the two productions of Turandot billed this year in Macerata, underlines up. Not so much because I was interested in doing mime, but Fauvist colourings in the fragmented vocalizing in Puccini’s Turandot that are close to the painted art form. An observation which is highly relevant if one thinks so as to finally be able to tread those boards.” of the Fauvist colours, between Symbolism and Déco, of Galileo Chini. Chini’s interest in a fabulous Orient increased following his travels in Siam, which influenced his entire artistic output. It was precisely for this reason that Puccini chose him to design the La Scala production, which Chini’s untimely death prevented him from seeing, of his Turandot staged in 1926. There are those who are amazed to learn that Pier Luigi intensity. Through his design philosophy I was able to interpret it according to his own personality. That is why a for their chromatic skill and for the extraordinary richness Pizzi has never formally studied scenography. And that his discover the ideal terrain in which to put forward solutions set design should not necessarily correspond to the in design. But also Guercino, Van Dyck with his portraits, technical training has instead come from studying for sets and costumes that were increasingly pared down author’s intentions (it’s never a good idea to follow Vermeer and his interiors... I could go on and on… architecture at the Politecnico in Milan. and logical, in a process of progressive “subtraction” of authors’ notes too closely, for example: they are often full The result of all this are stage productions that are full “And yet it’s true. And it proved an essential form of the superfluous to the point of reaching the essential. of snares) while it should always correspond to those of of stylistic meaningfulness, of unfailing theatrical training. A studied awareness of the organisation of Giorgio had a highly developed sense of craftsmanship. the director. impact. But can a set design be a spectacle in itself? I volumes and spaces I owe to architecture, of which With him it was possible to try things out, to experiment In designing for the theatre, you have a personal style mean: can it incite a collective “ooooh!” or applause at scenography is basically an offshoot. But then only the and develop ideas. Always in respecting the author, that is well-known and recognisable. Let’s now curtain-up, despite being generally considered theatre made me understand the right relationship between however, and which therefore – given the authors that consider its main characteristics… inopportune or vulgar to do so? stage and auditorium; the relationship between those who were chosen – almost always mirrored realism. But a “I would start with the search for beauty. And harmony. In 1960 I staged Goldoni’s Le morbinose, directed by De show and those who watch, only practical experience ‘in lyrical, magical realism. Given an essential treatment. Yes: this is actually the most important aspect in my Lullo. There were five sets: each set was greeted with a the field’ can give you this. The academies have always From De Lullo’s lyrical realism to the wild, visionary design philosophy. I cannot prevent myself from searching round of applause. What does this mean? That a stage seemed to me to be of little use: theorizing beyond a style of Luca Ronconi. Another important encounter… for beauty. In every thing I do, even at the cost of being designer should not concentrate on amazing everyone at certain point serves no purpose. And especially when it Fundamental. Luca and I met each other just in the period criticised for it. Because beauty is often regarded with all costs (something which, among other things, would run comes to theatre, as you need a ‘hands-on’ approach. It when he was beginning to make a name for himself. And suspicion: there is the fear that it throws a veil of the risk of distracting him from his work) but if it hits the also irritates me to hear of the “art of theatre” being talked together we developed a working relationship that lasted superficiality over things. I am sometimes accused of mark, so much the better. A sense of wonder is certainly about in such pompous tones. Theatre is certainly an art at least ten years. For me it was an opportunity to further being an aesthete. Well, if the term is not intended in the one of the legitimate expectations of a spectator. And the form. But let’s not take it too seriously: this art form finds explore my ideas, to give flight to my imagination. With negative sense, or at least in its reductive sense then, yes, sets that amaze, the sets that excite wonder, are the great expression through craftsmanship. A very noble form of the use of stage machinery, for example, and generally I confess. I am an aesthete. protagonists of seventeenth- and eighteenth century craftsmanship. Which is more than enough.” develop a more liberal approach to theatre that was Another characteristic of Pizzi’s theatre is elegance… theatre, from Torelli to Galli to Bibiena. Now, of course, oneiric, more visionary. Another label that has been attached to me. But I can’t do producing marvels becomes increasingly difficult, as we An artist’s training is also about dialoguing with other And finally the “encounter” that was also to prove a anything about that either: don’t they say that elegance is tend towards developing a theatre that is increasingly artists that he or she meets along the way. What have turning-point in your career, both in the professional and an innate quality? Some think that at times I let things get conceptual. But the “ooooh!” of amazement is always been the most important experiences for you? creative sense. Artistic direction. How did that come out of hand because, here too, there is a belief that an welcome. Well, the first was with Strehler. I remember turning up during about? excess of form and attention to aesthetics drains the In brief: when you have to stage an opera, what path the break in rehearsals to show him my first designs as a student I was at the height of my career as a stage designer and production of vigour, of lifeblood. While for me, elegance do you take? and he said, being very kind and helpful, “this you could do costume designer; I was working with a number of key represents an escape from vulgarity, a remedy against It’s a question of sensing in that opera, and therefore of better”, and “here it would work better like this”. I don’t know directors - Ferrero, Patroni Griffi, Enriquez, Fassini, sloppiness, an antidote to triviality. bringing to light, an atmosphere, a climate. When there is to what extent his style of that period influenced the Squarzina, Faggioni, Sequi, and many others – I could There is something else that makes your productions one… because at times it is lacking, and so it must be development of my own taste, but maybe something of his later consider myself completely satisfied. Maybe, thinking about incomparable and at the same time unmistakeable. invented. This is the rule that I have always tried to essentiality, that of his mature period, can be traced as a facet of it, there was a kind of restlessness in me; but I certainly didn’t The use of colour… respect: each production must have its own alchemy. An my own expressive rigour. consider the possibility of directing. It was by sheer chance: in Well… I think I have what is called a “sense” for colour. I alchemy which the opera itself dictates. One must always Then there was the second great encounter of your life. the spring of ’77, the director of a Don Giovanni at the Regio like to use it in its more decisive, pronounced tonalities. I search for a specific harmony, which is at the heart of that Perhaps the most significant… in Turin, Mario Missiroli, had to suddenly step down from the like to match colours that, in appearance, have nothing in opera and functions exclusively for that. Without Yes: that was with Giorgio De Lullo. Twenty years of job. They asked me to take his place. I felt that maybe the right common with each other. And I like to use colours that are following that which is specious, or systematic. working together: at the service of his memorable insights moment had arrived. I said to myself: “Why not?”. It generally overlooked. Violet, for example, which, despite Speaking of aiming for an effect: what are your into stage directing for the Compagnia dei Giovani, and happened to be, among other things, the same title with which its unwarranted negative reputation I find it, on the thoughts on the current, and fairly common, trend of those highly courageous, intuitive flights in opera I made my debut in set designing for lyric opera, twenty-five contrary, extremely theatrical and very beautiful. In all its setting an opera in a different period of history to the productions. A working relationship that was based on years previously. Luckily, everything went well. And from variants. original work? understanding and professionalism, absolutely unique. that time on, as you can see, I have never looked back. And then there is the main distinguishing feature of Someone would hold me mainly responsible for that De Lullo’s characteristic style – that rigorous A career that spans over half a century and, between Pizzi’s theatre: the cultural and figurative references because, for the first night at La Scala, in 1970, I set I approach, for example, with which he redelivers a new productions and revivals, around seven hundred to the seventeenth century… Vespri siciliani in the period that Verdi was alive: the year certain freshness and bite to Pirandello after decades and fifty shows. Conclusion: what does a stage design Yes; I identify myself a lot with the Baroque. What I find was 1848, rather than the original Medieval setting. A of woolly and over-elaborate interpretations – to what now represent for you? so exciting about this period is that it has all the elements rather daring transposition that proved controversial, extent has it influenced your way of designing sets and The organisation of a space. Necessary in order to render of a classical style, but it also dares to use them in a but which appeared totally relevant to the conductor costumes? this space useful and efficient for the purpose of narration. completely free way. And I also like the huge variety of Gavazzeni and the director De Lullo. In fact, it A great deal. It’s actually a combination of the clarity, the Which should be done in complete liberty: even from the the seventeenth century, which is never without reason: clarified. The idea was to emphasise the typical rational lucidity that Giorgio expected from his actors, and author’s notes. I mean that the author will have already even in a still life one can find a meaning, a story. It is no atmosphere of the Risorgimento in this opera by Verdi: from every aspect of the production, that I developed my expressed these indications in the text; the portrayal of that coincidence that I collect paintings of that period. My the character of which the author, to avoid censorship, sense of rigour, of simplicity combined with expressive text, though, rests with the director, who has every right to favourites? Caravaggio, Velasquez, Rembrandt, Rubens, had to cloak in a different disguise. So this was an attempt to clarify, and not to confuse ideas. Over time, attend acting lessons in addition to their music Inside however, this method has become a trend, a simple lessons. But this would not be a bad idea: “ ” expedient, used to excess and misleading. But every opera is – I’ll say it again – theatre as well as project should carry its own logic. In staging, let’s say, music. As for the credibility of the character, the work of Pier Luigi Pizzi Il crociato in Egitto, I would think twice about doing it physical appearance also plays a part in this. in modern dress. It would be worse than banal: it One really has to pay great attention to this Daniele Paolin would be reductive. An opera’s topicality resides in the detail when selecting the actors for a new opera itself. It’s the director’s and the stage designer’s production. And with regards to this, let’s go task to simply emphasise this for comparison. back to talking about critics. Why, when Does it often happen that, despite all your efforts and watching, let’s say a Traviata in which the f peaking of Pier Luigi Pizzi, the words of Gérard Fontaine that make up the fact that they may be applauded by the general actress has a good voice but the dimensions of the introduction to the wonderful catalogue of the exhibition on stage design public, these efforts are not understood by theatre a hippopotamus, do they judge one aspect entitled “SOGNO E DELIRIO” (“Dream and Delirium”) (Accademia di critics? while completely ignoring the other? Francia - Rome – 1997) cannot fail to spring to mind, in which he states that It happens, it happens: indeed it does. Sometimes it is my Shouldn’t the credibility of an actor also opera is a waking dream set to music, a dream that one wishes to portray in a fault, at times the critics are to blame. The fact is that some encompass their physical appearance and their way that is the most tangible and most captivating possible. Just as in a dream, critics have a problem, it’s always the same issue. They ability to act? opera, too, needs to rely on visually fascinating images; for this reason, stage forget that opera means a combination of music and A title that, in spite of everything, remains design for opera, contrary to playing a minor role, proves indispensable. And images. Accordingly, they should know how to listen to a long-held dream. And another, that you this in spite of the increasingly common practice of staging an opera without one while watching the other; instead, they are often would never dream of staging… costumes and sets. To develop and carry out its function to the full, stage afflicted by a kind of incapacity to synthesize. And if they I would really like to work on Il barbiere di design, according to Fontaine, must be: oneiric, interact with the dream listen to the music, it’s almost as if their having to Siviglia, while I don’t think I will ever stage material, and therefore be mobile and persuade the spectator as far as is simultaneously follow the visual aspects irritates them. Puccini (expect for Turandot, which I have possible that that which is being watched on the stage is real; it must therefore Almost as if one thing was independent from the other.” already produced several times), because just be realistic. Dream-state, mobility and realism: these are the themes on which But can you tell when there is a need to change about everything has already been said and done the subject of stage design is hinged. something in one of your productions? on Puccini, and because veristic theatre generally It is something I always do! Every time I re-stage one of leaves little to the imagination. But perhaps The creation of a dream-state, the fantasy, the vision, time and motion succeed my productions, I change something: I improve a certain Manon Lescaut… Yes, maybe Manon Lescaut I in gaining credibility in our perception only when each element contributes to effect, I substitute a detail. I do everything that I had no would do. the realism of observation: everything must convince us of the reality of the time for – or did not think of doing - the first time round. As for the Sferisterio Opera Festival, you have vision, which is something very different from the representation of reality in Firstly, because no-one is infallible. And secondly, just presented the programme for the 2007 the most general meaning of the term. Many are the elements that convince us because theatre is a living thing; it is not a museum piece. edition… that: “I know where I am, but where I am, I know not where that is”. (François Let’s talk a bit about artistic direction. Lyric opera is Yes, and we are particularly satisfied with it. Régnault - Histoire d’un Ring): we believe that this is Pizzi’s perception of based on a number of “conventions” that the public Also for the entire forthcoming season, from stage design. Everything is focussed on and concentrated in the dramatic tacitly receives and the director traditionally accepts. 26 July to 12 August, the Sferisterio will action, concisely drawn together by essential elements and movements, by For example, the “concertato”: a group of singers who, follow a strand that links all the productions: spaces and architecture that are well-balanced and by the use of lighting, of to express astonishment or disconcertion, against all "Il gioco dei potenti - Drammi, illusioni e which Appia gave the intriguing definition of “music of the space”. No logic sing words that are different from the others, sconfitte nella lotta per il potere” (“Power concession to a superfluous, conventional predominance of decoration. while remaining totally immobile. How does a modern Games – Dramas, illusions and defeats in the Reality of the vision, therefore, and not a vision of reality. producer deal with such absurdities? struggle for power”). On the bill we have All this indeed requires a great deal of knowledge, careful research, highly There is no one way of doing these things. A three operas: Macbeth, Norma and Maria developed interpretative and dramaturgical skills and an exceptional ability to “concertato” can represent a moment of pure Stuarda; two evenings dedicated to ballet - plan and design: I have had occasion to see some of his penned preliminary abstraction; therefore immobility is the ideal Gala Performance with Alessandra Ferri and sketches on which Pizzi usually formulates his ideas and pre-visuals on that expression. There are others, by contrast (like that of Roberto Bolle, in collaboration with which is to become his project and then the show; those rapid strokes of the pen the first finale of L'Italiana in Algeri), which are Civitanova Danza, and Shakespeariana, with reveal a well of historical and stylistic experience and draughtsmanship, but effectively dynamic, and which can be interpreted in a Carla Fracci and George Janku; Verdi’s Messa above all, of precision in dimensions, a decidedly rare and precious quality. kind of mechanical delirium; of a figurative moto da Requiem for the fiftieth anniversary of the You see my son, So those little concept sketches will become large surfaces, enormous perpetuo. death of Beniamino Gigli, and the recital by time here becomes volumes, variable spaces, real architectural blocks or moving sculptures: it Talking of the human figure: to what extent does Anna Proclemer, La donna e il potere. A space” almost seems a miracle or at least the result of a kind of magic. Behind the the physical aspect and the acting abilities of the considerable undertaking for a project that – Parsifal complete metamorphosis that will transform these miniature shapes into singers count? from what I hear round about – already seems A great deal. I don’t believe that today’s singers to be generating great expectations. gigantic, movable scenic apparatus – the so-called “coadiuvanti”: contributing components – which will Pizzi, referring to the early days of working on enable the arresting variations that give harmonious visual support to carry the drama’s narrative, there is a construction projects for the theatre, recalls: “I started wealth of experience and specialised knowledge that is unfamiliar to the general public, but which represents out by accepting jobs that everyone else refused to take a real “historic knowledge-base”, both theoretical and technical, developed from the only school offering on: for me, every single project represented a stimulating practical experience in stagecraft: the theatre itself. They are a group of highly skilled artisans, specialists challenge”. in traditional applied arts, capable of turning an uncertain prototype (because that’s what every set design Here lies the real, continuous challenge and the nature of is…), in record time and within budget, into stage machinery that is safe to use, reliable, user-friendly and the work of these modern-day, skilful makers of “magic”: operational, but not least, magnificent, extra-ordinary, superior to the norm. Magic, perhaps? One could, and the refusal to give up when faced with the enormous not without a certain emphasis, define it as such. But it is “merely” an alchemic process of technical know- difficulties that may arise from an expressive, how put into practice, honed by ability and experience. The kind of experience that embraces every type of dramaturgical, creative need or request. innovation and unforeseen development in a way that makes it absolutely normal: the extraordinary “Scenography, which for the ancient Greeks meant the art becomes normality. It almost brings to mind Torelli, the forerunner stage designer and technician of the of embellishment, of decorating the stage area, and in the Baroque period who, for his “marvellous ingenuity”, was universally known as “the wizard”. One such Renaissance period signified the technique of painting a theatre engineer, Vanni Delfini, founder of the DELFINI GROUP, who has often engineered projects for backdrop using perspective, in the modern sense has come I G I U L I R Z E Z I I P P

39 Opening night at La Scala, Milan, 2005, following renovation Salieri’s Europa riconosciuta director Luca Ronconi sets by Pier Luigi Pizzi, conductor Riccardo Muti

to mean “the science and art of organising the scenery and the space”, so that the scenery, progressively freed from the constraints of its imitative function, takes upon itself the entire show, thereby constituting its driving force. Without the machinery that makes up the structure of the space and of the action itself, many of the productions staged in Italy over recent decades would never have been put on” (from Ingresso a teatro edited by A. Cascetta and L. Peja, ed. Le lettere, Florence, 2003). The scenery has therefore changed, especially that of the twentieth century, thus making that very “machina” that the “deus” traditionally descended from increasingly indispensable. The stage machinery thus becomes essential to modern drama, enabling highly fluid, uninterrupted narration, thus rendering it dream- like. Of machines and mechanisms Delfini Group has realized many for Pizzi since way back in 1966, the year in which the Group first worked on a Pizzi project with La pietà di novembre for Giorgio Albertazzi and Anna Proclemer’s theatre company, followed immediately after with numerous productions by the historic “Compagnia dei Giovani” (Albani – De Lullo – Falck – Valli). A mention can be given only to the most recent productions: for the Teatro dell’Opera in Rome, Semiramide and The Magic Flute; for the Rossini Opera Festival, La pietra del paragone and Tancredi; for the

The boat split in two, the hull receals its contents p ou . gr Fondazione Teatro la Fenice, Venice, Gran Theatre del Liceu, Polieri, happily defined it, but yet collected in years of research and i Barcelona in Thaïs and The Pearl Fishers; for the La Gioconda by Ponchielli always “science”, technical know-how. reconstruction; they dress the architecture lf Associazione Arena Sferisterio, sets by Pier Luigi Pizzi Those who have seen the Europa and structures, simulate and camouflage e Macerata, The Tales of Hoffmann and Bird’s-eye view photos of set riconosciuta which opened the newly materials with the skilful use of colours, d Andrea Chenier; for the Fondazione renovated La Scala will recall how the textures and finishings. Teatro Alla Scala, Milan, Europa entire show, by design of its two All this is integrated by fabrics, from riconosciuta; for the Fundaciò del Gran authors (Pizzi and Ronconi) was a the richest to the most unrefined, by Teatre del Liceu Barcelona, La triumph of movement and exhibition of huge semi-transparent screens that Gioconda; for the Teatro Real Madrid, an array of new and powerful enable soft transitions from one scene Celos aun del aire matan; for the Teatro machinery and technology (designed to the next, by unusual materials that Carlo Felice in Genoa, Death in Venice by engineer Franco Malgrande) which are hard to find, like very lightweight and I Puritani; for the Teatro Delle now equips the stage of Italy’s most mirrors, enormous shiny reflective The DELFINI GROUP, a Limited Company engaged in designing and Muse Ancona, Idomeneo; for the prestigious theatre. To these elaborate surfaces or luminously opaline: skies, implementing show equipment, art Teatro della Fortuna, Fano, Apollo e in-house facilities were integrated which are cleverly lit to be the envy direction and events. Our activity has Dafne; for the Teatro Comunale of other creations by Delfini and devised of real skies; these are materials that developed from a solid base in Bologna, Dom Sébastien and Falstaff. by Pizzi: a boat mounted on a double are continually unearthed and craftsmanship and forty years of experience and retains the versatility and the quality of Bare machinery, basic, skeletal row of revolving platforms which assembled by the oldest Italian firm these origins. We have come up with structures, soundless motors and enabled a movement devised for scene specialising in supplying textiles and products using modern systems of working mechanisms that take on phenomenal entrance and its positioning on stage; a materials specifically for the theatre, on an industrial scale while exploiting a wide variety of materials. and unexpected appearances when in successive opening of the hull in two a veritable treasure trove of fabrics, Our plant covers 4,000 square metres - motion, their movement becomes halves then simulated a shipwreck; coverings and upholstery plus a divided into various departments: structural increasingly complex, articulated, additionally, on another platform fitted variety of related items: PERONI, with steel works, fine mechanics, carpentry, controlled: in other words, musical or, to with wheels, which enabled movement its headquarters in Gallarate, near upholstery and painting. This is where we construct, assemble and test large-scale paraphrase Appia’s definition of in all four directions, were mounted 26 Milan. manufactured articles to meet the lighting, almost a “music of horses that could rotate As we have seen, these specialist requirements of all exhibitory or theatrical movement”. simultaneously; the central horse could skills and products are numerous also types. There is a large area specially created for the How could the public, unacquainted also advance towards the spectators. in a theatre production, and not just in purpose of stocking materials for basic with these inner workings, while Machines that we have defined as “bare”: cinema as we are used to believing, equipment, various types of panelling, watching the Aida staged at the Arena di intriguing frameworks. Obviously the and we have but mentioned a small counters, banisters, gazebo-type covers of Verona, find a simple explanation for Gran Theatre del Liceu, Barcelona movement and the machine (science) number of them. The quality of these various kinds, modular platforms, coverings, the sight of an enormous temple, La Gioconda by Ponchielli makes theatre in combination with interventions and these formulations, etc. sets by Pier Luigi Pizzi With our own staff and transport fleet we partially set into the central tiers, with a scene in wich the boat burns materials and form (appearance), which the guarantee and the assurance of work all over the world to a turnkey synchronous movement lift itself transform them so that they rapid results, and the accurate and formula. Our Company’s flexibility lies in our never-ending search for new several metres above the singers and metamorphose into the “oneiric, or meticulous working process experiences, which has enabled us to work chorus? Or a circular opening of more dream-like reality” so dear to Fontaine. constitute essential qualifications for together with qualified professionals in the than nine metres in diameter open and Other expert hands then work on that the faultless realisation of the equipment sector as well as bodies and major companies in the industrial world; close as if it were an enormous shutter object, they “dress” it with a significance visionary art direction and inventive in the live performance sector, in major of a camera, with a symmetrical that is anything but apparent: the reticular designs that germinate in Pizzi’s European theatres for the purpose of movement of sixteen elements (blades), mechanical structure becomes a golden fervent mind and which then form the implementing avant-garde stage technique as in Apollo e Dafne staged at the Teatro column, a climbable rock face, a substance of his elegant productions. systems. When the Euro became the official della Fortuna in Fano? Or see an decorated wall, a three-dimensional Thus springs to mind the stimulating European currency, we increased our enormous rocky mass break up into four sculpture and all that which its precise definition that Chiara Mariani gave in corporate capital to EUROS 1,000,000. parts, thus revealing a temple within, appearance suggests it simulates. These referring to scenographers as a whole: The Company has been guided with the same passion for two generations and this and the set thus divided, fully rotate on expert hands, very often in collaboration “…the eclectic and invisible heroes of ensures reliability, efficiency and quality the stage, as in Celos aun del aire matan with the Delfini Group, have also worked film and theatre…, transform the and has enabled us to forge long term staged at the Teatro Real in Madrid? for decades on Pizzi’s productions: the space of the stage into a powerful collaborative links with the major artists in Magic? long established workshop of RUBECHINI means of fascination, capable of this field. Perhaps “the science of appearance”, as CARLO SNC based in Florence. They affecting emotion and transforming Delfini Group s.r.l. the French stage designer Jacques provide the ornaments, the props, the points of view”. Sede legale valuable and important items of furniture via Monte Brianzo, 82 00186 Roma (I) Stabilimento via della Chimica, 2/a Tel 06 9283093 Fax 06 9283088 04011 Aprilia (LT) - ITALY www.delfinigroup.com F COSTUME HOUSE O TIRELLI Y R O Tirelli costume house was founded in 1964, and is famous for having created costumes for films and theatrical productions that have made history, among which, costumes for almost every motion picture directed by Luchino Visconti (designed by T Piero Tosi). Tirelli worked on the creation of costumes for Federico Fellini’s Casanova, for which Danilo Donati won an Academy Award® for best costume design in 1973-4; for Chariots of Fire, directed by Hugh Hudson, which won an S Academy Award® for costume designer Milena Canonero in 1982; the costumes for Milos Forman’s Amadeus, for which I designer Teodor Pistek garnered an Academy Award® in 1985; costumes for Cyrano de Bergerac designed by Franca Squarciapino, an Academy Award® in 1991, and for The Age of Innocence, for which Gabriella Pescucci was honoured with ®

H an Academy Award for her costume designs in 1994. Numerous Oscar nominations and countless other prizes, both in Italy and from abroad, have been awarded to various costume designers who have seen their creations come to life thanks to the skilful contribution of Tirelli’s costume makers. After its founder, Umberto Tirelli passed away, the sartoria has continued its impressive activity through its friends and heirs under the guidance of Dino Trappetti. In recent years, costumes have been made for The English Patient, which netted Ann Roth an Academy Award® for best costume design; for Titanic, for which costume designer Deborah Scott won an Academy Award®; for Elisabeth, with costume designer Alex Byrne; La leggenda del pianista sull’oceano, a David di Donatello for Maurizio Millenotti’s costumes; Moulin Rouge by Baz Luhrman, and Cold Mountain with designs by Ann Roth. More recently, costumes were built for Charlie and the Chocolate Factory, designed by Gabriella Pescucci, and Pirates of the Caribbean II, by costume designer Penny Rose. Umberto Tirelli was an avid collector of antique and vintage clothing, which began with his search for apparel to acquire for the purpose of study and research, sifting through the attics of aristocratic families and rummaging through the stalls at flea markets across the globe. Tirelli patiently amassed an impressive collection that now numbers over 15,000 authentic items, making it undoubtedly one of the world’s most important private collections in vintage and contemporary clothing. Umberto Tirelli did not limit himself to simply collecting vintage clothing, but he always tried to put the garments to good use by making them available to the costume designers with whom he collaborated, or by often donating them to museums. The most significant donation forms the essential core of the Galleria del Costume housed in the Museo degli Argenti di Palazzo Pitti in Florence. In November 1964, he opened his atelier with two sewing machines, five costume makers, a stylist, a secretary and a driver who doubled as a storeman. Following the first project (a Tosca designed by Anna Anni and directed by Mauro Bolognini for Rome’s Teatro dell’Opera), in its first year of activity the Tirelli costume house built costumes for three great stage productions: Three Sisters and Il giuoco delle parti designed by Pier Luigi Pizzi and directed by Giorgio De Lullo, and The Cherry Orchard designed by Ferdinando Scarfiotti and directed by Luchino Visconti. Since then, Tirelli costume house has been in continual expansion. It has developed its operations principally along two quite different though complementary routes: that mapped out by the career of Pier Luigi Pizzi, and patterned with costumes built for prose theatre and opera productions, characterised mainly by inventive creation; and that mapped out by the career of Piero Tosi, who dedicated most of his work to film, in philological reconstruction. Tosi’s work has had a deep influence on Gabriella Pescucci, who grew professionally under the guidance of Tosi and Tirelli, and who won an Academy Award® in 1994 for The Age of Innocence. Maurizio Millenotti, Vera Marzot and Maurizio Monteverde have all contributed greatly to the building of the costume house’s highly regarded reputation. Countless costume designers have honed their skills in the “Tirelli Workshop”, some of whom have achieved international acclaim, such as Maurizio Millenotti (two Academy Award® nominations and a number of Italian awards), Giovanna Buzzi, Alberto Verso, Giuseppe Crisolini Malatesta, Carlo Diappi, Carlo Poggioli, Flora Brancatella, Alberto Spiazzi, Silvia TIRELLI COSTUMI Sartoria Teatrale Aymonino, and Alessandro Lai. And there are many costume designers from Europe and beyond who develop their projects via Pompeo Magno 11/b - Roma - T. +39 06 3211201 - F. +39 06 3216822 within its elegant Liberty-style walls: Hugo De Ana (director and designer of his own theatre and opera productions), James [email protected] - www.tirelli-costumi.com Acheson, Sandy Powell, Claudie Gastine, Ann Roth, Penny Rose, Yvonne, Sassinot de Nesle, Françoise Tournafond, Olga Berluti, Deborah Scott, Jean Philippe Abril and many, many others. or glazing it, so that the costumes take on their own history, a past life. This kind of work, so different from anything that had been seen till then, has garnered universal consensus and numerous awards: not least Danilo Donati’s two Academy Awards® for Franco Zeffirelli’s Romeo and Juliet and Federico Fellini’s Piero Farani was born in Cadeo, a small town near Piacenza, in Casanova, as well as BAFTA Awards and, in Italy, David di 1922. It seems his passion for fabrics dates right back to his Donatello and Silver Ribbon Awards. But still today, though in a childhood. His first experience as “theatrical tailor” was in more difficult context, quality in theatre, as in film, continues to be making the costumes for the marionettes owned by the Prati rewarded. In1980, Farani donated a collection of over two hundred family, famous puppeteers of Fidenza. The vicissitudes of life costumes representing the most important projects among his and particularly those of war led him to Rome where he settled production to the CSAC at the University of Parma. Creations from in the 1950s, drawn to the world of entertainment. In Rome a group of great costume designers who over the years have all there were many young talents who were trying to scrape a worked with his costume house, among which: Ezio Frigerio and living by doing odd jobs: Franco Zeffirelli, Mauro Bolognini, then Franca Squarciapino, Santuzza Calì, Lele Luzzati and Maria de Danilo Donati, Giancarlo Cobelli, Gian Maria Volontè. And it Matteis. In November 1997, Farani passed away. is precisely that meeting with Danilo Donati who, following a The Farani costume house is currently enjoying a renewed lease of period working as assistant to Visconti, was beginning to make life. In the early eighties Farani chose as his closest collaborator Giuti a name for himself, which marked a turning point: it was Donati Piccolo, who now owns the firm and who, without abandoning the who introduced him to Anna and Teresa Allegri, owners and costume house’s particular style, adds a deep love for the authentic and lifeblood of Annamode costume house. From humble assistant the philological aspects of costuming while adopting more modern he rapidly rose to become director and, in 1962, he opened his working methods without, however, skimping on the quality of own costume house in Rome’s Viale Mazzini. Farani was right craftsmanship or losing a certain informal atmosphere. New spaces are COSTUME HOUSE to declare that he was not a tailor, because he was not just a acquired and those existing are reorganised. Over the years, Piccolo tailor and his costume house was so much more than that: it was has collected a large number of authentic pieces; the collection now a workshop, a studio, a place to experiment. Farani and Donati runs to around 700 garments, most of which date from the early I together revolutionised the very concept of costume. Creations nineteenth century up to the Second World War. Among the gowns by of unbridled imagination and total liberty behind which lay Dior or Balmain are to be found creations designed by unknown Donati’s extraordinary knowledge of the figurative arts and his hands, chosen for their originality or for a particular cut or a detail N love of Italian contemporary art. He had been apprenticed to considered in some way special. The collection represents an Rosai in Florence, which enabled him to reinvent historical invaluable source for projects requiring historical reconstruction, but periods and realities by transgressing the norms whilst making which today goes hand in hand with pure invention. Cinema, theatre A and the entertainment sphere in general often undergo a process of

F them credible and in keeping with a given period, combining fantasy with philology. In Farani, Donati discovered those mystification and it is only the work of a few that is appreciated; in reality it is founded on a highly skilled collective craftsmanship rooted

R technical skills capable of unheard of virtuosities and that same

O freedom of imagination. The result of their collaboration is in the applied arts, which often constitutes the vehicle by which Italy’s something highly innovative with respect to the traditional creative talent is universally recognised and fostered. The reason

A theatrical costume, particularly for the materials and their use. behind these exhibitions is therefore not merely celebratory in the The costumes lose their sartorial nature and become paintings, popular sense; it is more about spreading awareness of an artistic

F heritage and of safeguarding it.

Y sculptures: the fabrics are transformed or matched with other materials which in turn forget that they originated as plastic, “…I am not a tailor, I don’t card, straw, metal or seashells. There is no limit imposed on the R know how to sew… I know use of materials. For their transformation Piero Farani was to fit out his costume house with ancient looms to weave the the basics because my

O cloths used in Pasolini’s Oedipus Rex; and a huge flatiron mother went to dressmaking curiously powered by four gas cylinders to pleat the school in Parma, around tunics for Fellini’s Satyricon, then the costume T makers and cutters were to work next to craftsmen 1903–1904. Once a year she who would melt lead to fashion archaic jewellery and

S cut everything for her cut sheets of metal for headdresses and armour for Pasolini’s Il fiore delle mille e una notte, carpenters daughters, for herself, for me I who would make two-centimetre thick busts for the and for my father. She women of Ciociaria for Pasolini’s Storie scellerate, called a dressmaker from and then dyers and painters who transform the H fabrics’ industrial colours into the most refined Parma, she spent a lot of palettes derived from Italian masterpieces, but who time at home, my mother also break down the cloth by fading, ageing, dirtying chalked up and cut while the dressmaker sewed and I learnt these things there.”

Sartoria Teatrale Farani via A. Dandolo, 8 - 00153 Roma - T. +39 06 5815308 / +39 06 5815298 - F. +39 06 58345866 - [email protected] - www.farani.it local markets, stuff which the Marshall Plan destined puffy cheek or a rip in the sleeve was tolerated. The Italian costume designers’ for us poor Italians devastated by the war, in search of way of seeing and interpreting the costume has for many been a “school”; the right jacket for a clerical worker, or an evacuee, a since then a different overall image has been imposed, almost documentary in little suit for a sales girl, or a worn and blackened style, in search of a reality that could, at times, even be considered awkward or COSTUME HOUSE apron for La Ciociara in De Sica’s Two Women. It unaesthetic. Since the days of Rossellini, De Sica, Visconti, Germi and was amazing what could be unearthed in those Monicelli, cinema has moved on and is no longer the same. The opportunity to GP11 srl markets: old German uniforms, American T-shirts, collaborate with and realize the ideas of so many different designers on a British overcoats, Can-Can dresses heavy with variety of projects has enabled Gabriele Mayer to refine his skills and to enrich via di Pietralata, 157 - 00158 Roma sequins, discarded tailcoats and tuxedos… It was in his professional experience through continuous new challenges and solutions. T. +39 06 4512015 / +39.06.4512062 those very years that the costume house gained its Each one of us has a personal vision of a particular era, an individual feeling own identity by beginning to expand while being P [email protected] - www.gp11.it for colour, for matter, for fabrics, and one often arrives at a final solution GABRIELE MAYER’S involved in the making of films that were to prove through very personal and unexpected means. Incredibly, he remembers highly significant, thanks also to Gabriele, whose everything: every garment that has come out of his atelier, every fabric sample, 1 youth graced him with energetic enthusiasm and a and every fitting made in doubt, in triumph, in predicament, in a lack of taste for new experiences. The search for truth was understanding or in a state of nerves, as often happens in our line of work. He 1 paramount. We began to maltreat the costumes by has had the capability to best interpret the ideas of every costume designer that dirtying them, ageing them with a wire brush, with he has worked with, while always trying to satisfy their needs and work bleach, soap and sandpaper; even the most beautiful towards a successful completion of the project in hand, outlining for each one and expensive garments were not spared the process of them a fresh approach, seen from within. Giulia Mafai of breaking-down, to comply with the needs of the character and the script. According to the aesthetic model then in vogue, Giulio Coltellacci possessed a highly developed, delicate, baroque I can recall Gabriele as a established by films from the U.S., actresses always imagination and an exacting and sensitive character. He wholly young lad in the large shadowy apartment had to appear flawless, with clean, unrumpled invented the Italian Musical with a palette that was never strident of a house in Via del Clementino in an clothing and perfect hairstyles, regardless of the film’s historic quarter of Rome where his father, story and situation (war, floods, air crashes); at most a but extremely sophisticated, making use of gorgeous high-end an extremely kind and courteous seasoned fabrics even for the linings of the dancers’ costumes. Piero burlesque actor, had opened his own little Ghepardi was Fellini’s first costume designer. He would arrive at theatrical costume house. Gabriele was the costume house and without sketches would set to work directly just as he is now: rather timid, and long on the tailor’s dummy; draping, cutting, mixing and matching and lean of stature. He studied at the Liceo Artistico in Rome and as a pastime classic materials with modern advanced textiles: wonderful I saw him spend hours embroidering with Forneris pure silks, and the rigid nylon reinforcements and an ancient Cornely, which perhaps was ”spaltrì” for hats, low-grade fabrics from war surplus and elegant still pedal operated. Born into the family Fortuny-style pleated velvets. He rejected floral fabrics and, in the tradition, he hoped one day to carry on the rather austere manner of a dyed-in-the-wool Tuscan, he never used work of his father and that of his mother, patterned textiles. For a dress to be worn by Giulietta Masina, an who was a dressmaker of extraordinary actress who was always full of doubts, frequent changes of mind ability. With the passing of years we now see that he has attained his dream. and indecision, ninety metres of fabric were used and the final His sartoria has now made a solid name for garment, the one worn on stage, was built from bits and pieces, itself both in Italy and abroad. He has been scraps, off-cuts and remnants; naturally no-one on set was aware of both happy and proud to collaborate with this fact. The secrets of the wardrobe department remain as such acclaimed costume designers, to dress and every costume designer and tailor has their own tricks of the celebrated actors and to satisfy exigent trade. Rigour combined with imagination is the hallmark of Pier Oscar-winning directors. This brief get- together has finally given us the Luigi Pizzi, providing a clue not only to his origins as an architect opportunity to chat at length about our but also to the influence of the Baroque of which he is so profession: that of costume designer. When enamoured. The “rags” of the false costumes arranged in the the costume house was founded, in the masked ball of Vittorio Caprioli’s Madame Royal, and the 1950s, the motion picture industry in Italy extremely clean lines of the costumes in grey satin are the opposite was enjoying a period of unprecedented poles that encircle Pizzi’s artistic landscape. And then there is that success. For everyone, this was a time of great ferment and significance. great love for the theatre, felt by Giancarlo Cobelli and Paolo Immediately after the war, there was an Tommasi, by Pizzi and Samaritani, Vera Marzot and Odette explosion of vitality, of ideas: directors, Nicoletti, Carlo Drappi, Enrico Sabbatici and Luca Sabatelli. script writers, producers, actors, production If we talk about today, Gabriele grows a little sad, even though his designers, costume designers and most recently completed project was the splendid collaboration photographers were all involved in the with Milena Canonero for Sophia Coppola’s Marie Antoinette. The making of films that have become part of air of uncertainty that circulates in the film industry these last few the History of Cinema. Important years, in which Italy’s Neo-realism took form and years cannot but also affect our artisans, and the costume houses, flourished. For the first time, costume which are among the structures most vulnerable to the winds of designers went in search of an image cultural change. Nowadays, he repeats, the real “creatives” are based on realism rather than creating a sorely missing; people have lowered their sights, very often purely aesthetic vision for the sake of accepting things that have been “botched” together at the last attaining a beautiful ideal. We were minute. The lack of funds, too, can become an alibi, an excuse; but perhaps among the first, with Elio Costanzi and Gabriele Mayer, to rummage what is really lacking is a truly cultural vision common to all. The among piles of jumble-sale clothes in the “engine” that used to drive us towards research and discovery has ceased to spin. That dynamism that spurred us to stretch the imagination, to aim higher, and even maybe to make mistakes, but to err is also to do, to create… 6 2 0 i w n 1 S f 4 w A o v

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