Photo Credit: Classical Opera Company and Foto Spot, Italy.
ACT 1

Photo Credit: Classical Opera Company and Foto Spot, Italy.
ACT 2

Photo Credit: Classical Opera Company and Foto Spot, Italy.
ACT 3

Photo Credit: Classical Opera Company and Foto Spot, Italy.
ACT 4

"On my recent production of The Marriage of Figaro the set designer had asked for the whole show to be lit in hues of green, this was to enhance the green set and green floor. I wanted to use colours that would enhance and provoke the set and costumes but not deter from the true time and location of each act. With the new colours in the Rosco E-colour range, I felt confident that ‘just the right’ greens might be available. We softly lit Act 1 as an attic bedroom using the 5433 Surf Blue to give the feeling of an early morning dawn wash. Later in Act 2 it was used at full to give the feeling of a bedroom filled with morning sunlight. 5436 Capri Blue gave an interior feel of early evening, a slightly smoky, end of a party, wash to Act 3. Then finally, a midnight lit garden; 5077 Green Blue triumphed as the night wash, really giving a sense of darkness as well as enhancing the green of the bushes and shrubbery backdrop. It was great lighting a show just in green and made me really examine my swatch book. And just in case you were wondering, I also used 373-371, so the singers didn’t look like the Jolly Green Giant! "

Johanna has been designing the lighting for shows nationally and internationally for over 20 years. These most recently include “My Names Rachel Corrie” directed by Alan Rickman, “Under the Whaleback’ directed by Richard Wilson, and “Macbeth’ directed by Max Stafford-Clark. Johanna is currently Head of Lighting for the Royal Court Theatre for whom she has designed over 50 productions.

“ I used 2005, Turquoise and 4230, Barely Blue for he first time in a recent Madama Buttterfly in Calabria. I used the Turquoise behind a black scrim as a background to silhoutte the small, waiting figures on stage with the addition of a few “streak” gobos. The effect ellicited such strong emotions that it gave me goose-bumps and I swear I heard sobs in the audience - it was as if we were all waiting. The Barely Blue made a “dull” white light so thick that you cut it with a knife- it really made her a heroine….”

During the many years in which Patrick Latronica has lived and worked in Italy he has designed the lighting for major productions of the Teatro Massimo, Palermo, Teatro, Bellini, Naples, La Fenice, Venice, Teatro dell’ Opera, Roma and Teatro San Carlo, Naples and countless others both in Italy and abroad. His work has been seen in thirty countries. Two productions have been awarded prestigious prizes - I Due Gemelli won the Critics Award, Premio Abbiate, for the best production of 1997 and The Promessi Sposi was cited as Best Musical of 2001/2002. In 1990 Patrick latronica was awarded the Premio Posiano for his significant contribution to Italian Dance.

"What nature does for real Rosco can achieve on stage."

Max Keller's career started as a lighting doperator at the city theatre in his home town Basel/Switzerland.

From 1975 on, as head of the lighting department of the Staatiche Schauspielbühnen Berlin (State Drama Theatres) in Berlin he introduced the profession of "Lighting Designer" in Germany.

The Münchner Kammerspiele (Munich Chamber Theatre) were the first to employ him as a lighting designer. Since then he puts, not only there but in many theatres around the world, the scene in its best light. He teaches at theatre universities, academies and colleges and has published numerous articles in related magazines.

His work not only unfolds in theatres but as well in lighting installations for architectural purpose and lighting concepts for the industry.