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Pier Luigi Pizzi

 

Pier Luigi Pizzi at the Arena Sferisterio of Macerata, during the installation by Arena Sferisterio, ''Andrea Chénier'', in 2005. Pizzi began his scenic career in 1951 at the Teatro Stabile of Genoa, after attending the Faculty of Architecture of the Politecnico in Milan. He performs the first theatrical experience with Giorgio Strehler and Giorgio De Lullo.
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Teatro La Fenice, ''Il crociato in Egitto'' Black sail made of ASC1000S - Sceno 1.000 cm muslin and Rear-illuminated backdrop made of RAR - Arizona film and white TIL - Iris Lucido floor.With De Lullo, whom he meets in 1957 and with him established an intense collaboration that will continue until 1981, the year of the death ...
... of the founder of the Compagnia dei Giovani, with memorable results both in the plahouse that in the lyric theatre.Among the numerous installations of association with the company and of De Lullo and Romolo Valli, must be mentioned that veronese of Twelfth Night by Shakespeare (1961), and those of 1963 at Festival dei Due Mondi of Spoleto: Sei personaggi in cerca d'autore by Pirandello ...
... and Il malato immaginario by Molière.In the first period should be remembered, always with the director by Giorgio De Lullo, Alceste by Christoph Willibald Gluck realized for Maggio Musicale Fiorentino (1966) and that of The Sicilian Vespers at the Teatro alla Scala in Milan (1970).
Arena Sferisterio, ''Andrea Chénier'' A backdrop made of HSV - Trevi fabric with a height of 20 m and a width of 4,20 m that stylizes the French flag.Great importance along the entire artistic carrier of Pizzi, is taken by the installations for the theatre of opera.
Teatro Lirico of Cagliari, ''Hans Heiling'' Pier Luigi Pizzi separated the front of the stage from the bottom with a gigantic ZSM - Magic Mirror backdrop, in which they reflect themselves a big dodecahedron, considered by Platone the symbol of the universe, and a double headed aries that supports ...
... a giant tusk of narwhal.As it often happens in Pier Luigi Pizzi's shenographies, the objects of scene determine the essence of the same scenography.
Arena Sferisterio, ''Les contes d'Hoffmann'' Backdrop made of white HSE - Tempesta silk.The backdrop, installed flat and tense, thanks to the strong light reflection properties assumed with great effectiveness the colorations of the illumination: blue in this case, the scene of the famous Barcarolle.
Elegance and refinement are the dominant lines of the work of Pier Luigi Pizzi (Milan 1930), scenographer, costume designer and stage director.
Some dominants that at times Pizzi pushed to the limits of preciosity, in other occasions instead always dissolving them with a wise use of the colours and with an ability of synthesis that sometimes reduces his installations to the essential, leaving nevertheless always understand the presence of the solid cultural base on which their project is founded.
A great meaning, in his scenographies, has the use of the objects of scene, that often assume a notable symbolic value that is pushed up to determine the essence of the representation.
His stage installations are built with shapes and volumes, guided by a great architectural rigor and don't disdain the use of machines and theatrical tricks typical of the theater of the Sixteenth and Seventeenth Centuries, a period that he preferred for a long time and with which he often tried his strength.
His works, in Italy and abroad, have been winning innumerable times the most prestigious international prizes of the critics.

Video & Documentation

Arena Sferisterio, ''Les contes d'Hoffmann'': kabuki backdrop made of Tempesta silk

Arena Sferisterio, ''Les contes d'Hoffmann'': backdrop made of Tempesta silk

Materials used in this production

Arena Sferisterio, ''Andrea Chénier''

Lyric opera

Arena Sferisterio, ''Les contes d'Hoffmann''

Lyric opera

Teatro alla Scala, ''Der Rosenkavalier''

Lyric opera

Teatro alla Scala, ''Europa riconosciuta''

Lyric opera

Teatro La Fenice, ''Death in Venice''

Lyric opera

Teatro Lirico, ''Hans Heiling''

Lyric opera

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