Paolo Fantin’s set consists of shipping containers which form a suitably humdrum industrial setting for Il tabarro, and in an arresting segue the walls are slowly lifted – while the distraught Giorgetta has her hair cropped in degrading fashion – to reveal a clinical look of tiled walls and sterile fixtures for Suor Angelica. In Gianni Schicchi the containers are fully opened, exposing interiors covered in garish wallpaper, and at the very end the mercenary relatives are herded into a corner of the set to howl with indignation as the metal walls rise around them.
For more, see here. According to the pre-production hype, these cargo containers were to be the backdrop for a pessimistic calling into question of moral values, tinged with graphic brutality and charcoal-black humour. Unsurprisingly, Damiano Michieletto’s production was less Bieito than a one-upping of the recent Richard Jones staging for Covent Garden, complete with a gauntlet laid down in the wallpaper stakes. Still, Michieletto had more to say here than in his recent Salzburg Bohème. Happenstance keeps him in Austria for another new production (L’elisir, opening in Graz next month), and on the strength of this Trittico it seems likely Herr Geyer will have him back at the TadW in the not too distant future. Then there is the advertising and sponsorship revenue waiting to be tapped should Pereira offer a further Salzburg opportunity, what with wholesomeness marked out in the Michieletto aesthetic by puffa vests, Nantucket Reds, Tod’s, and other sundry items from the Peek und Cloppenburg catalogue. Never before has Frugola’s bag lady attire looked so stylish. And poor Rinuccio, like a grade A douchebag in his Dartmouth green chinos; look on his only flaw kindly, he knows not how insufferably preppy he looks.
More photos after the jump.
Image credit: Werner Kmetitsch