| Roland Aeschlimann Set Designer* |
| Visionary |
| SFO 2005-2006 Season La Forza del Destino |
| Roland Aeschlimann is yet another in a long list of designers who have extended their hand to staging the works they have designed, . . . to ensure a unity of concept. (Parsifal Review) |
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| From the grand tier we then watched a rehearsal of Verdi�s not so well known opera Luisa Miller. It was a privilege to be part of the informalities of the rehearsal process; to witness the word-forgetting tantrums, countless �techies� running about fixing Roland Aeschlimann�s set, and to hear the instructions of the directors. (Source) |
| The curtain rises on an inclined level, composed of steps, in the medium of which a small hut is, transforming itself at will into room, in church... This single decoration, on the occasion, is accompanied by a footbridge, thus making it possible to create two plans in the scene between Walter and Wurm with act II (This, they call a translation of Luisa Miller review) |
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| Anyone can Google and get this information that I have placed here in one place for convenience. |
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| A protected space modeled after the War
Memorial Opera House falls apart. Act 1, Scene 2 |
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| In a world of war, camouflage and disguise
become essential for survival. Act 2 |
| Symbolic of fate, the oversized
cross dominates the scene. Act 3, Scene 2 |
| The force of destiny is visually depicted by a slanted set, destiny being the gravity which pulls the people in their prescribed path, downward. Going up, extricating oneself from the forces of destiny, requires finding faith, as both Leonora and Alvaro eventually figures out. The different sets underline the stages towards making this discovery: a black one in Act II, with these black trenchcoats; a camouflage of gray in Act III, with both the soldiers uniform and the floor and walls in black and white camouflage; a white one in the last act. The sets color an inner path towards redemption, while the outside world stays extremely violent:/ Review_Forza |
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