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Robert Workman

Mozart revisited the strict, structural form of the opera seria for Clemenza.  It is a delicate and unique piece of music where you hear Mozart at the height of his powers creating something restrained and beautiful.  This was the starting point for our production.  We wanted to find a technique that could match the music to create large public spaces and small private ones within a formal and minimal architecture.  We felt Tito’s Rome should be built out of planes of shifting light to create these spaces in a lucid theatrical manner.  The work of artists like Olafur Eliasson and James Turrell was a great inspiration to us.

We spent some time experimenting with various forms of structure onto which we would project our world and eventually settled on one which would allow us to create the illusion of depth where the was none and worlds beyond a simple wall and crucially for act 2, allow us to build a world which could be destroyed and cracked by the raging fire that ends act 1.

Video Mapping was the method I chose to realise this design.  It feels like we don’t project any more, we map now.  Video Mapping has evolved to the stage where it can work within the opera repertory environment and the content production process reached a point it can keep pace the rehearsal process.

We used 4 projectors on the show, 2 to map the back wall, 1 for the floor and 1 for a rotating glass wall.  All this was mapped using Catalyst and some very clever sums from the exceptional Adam Young and Leo Flint who also animated and programmed the show respectively.