Lighting designer Francesco Adinolfi has already taken part in a theatrical project starring Serena Autieri: he was involved in La sciantosa, directed by Gino Landi, last year.
After reading this year's script, Francesco Adinolfi attended the rehearsals of the musical. What inspired your lighting design and gave you your ideas?
"Together with Oscar winner Gianni Quaranta, I studied the works and lighting atmospheres of the American painter Edward Hopper, and began to pick out the Clay Paky lights I wanted to include in my lighting design.
"The realism of Hopper's settings and the contrast between the dazzling presence of light and the internal silent geometric compositions of his works were surprising."
Adinolfi chose a total of 18 Alpha Profile 800 STs. The lights are compact, lightweight and quiet, with exceptional brightness, and a zoom capable of producing a razor sharp uniform beam of light.
He also selected ten Alpha Profile 1500 STs, capable of creating countless shapes in multiple dimensions. They are bright, quiet and have a 1:9 zoom, which makes them suitable both for short and long distance uses. These lights come with a wide range of visual effects, an innovative autofocus system, and a frost filter which is synchronized with the zoom for an extremely gradual wash effect.
In addition to the lights, there were also several Clay Paky Glow-up Strip 100 LED bars. Thanks to their batteries and controllability, they are particularly suitable for use during temporary events or tours. They were easily integrated into the set architecture, installed in a row inside a house (one of the set structures), and controlled with a motorized electronic zoom (14° and 70°) to create Serena Autieri's silhouette.
They have a ten-hour battery life in optimal consumption conditions and may be recharged by placing them inside their flight cases (rapid recharge) or by connecting them directly to the mains supply.
No further changes were necessary once the positions were defined. The Profiles allowed Adinolfi to programme all the scenes needed for the show lighting environments and create them thanks to conversion filters.
(Jim Evans)
