Andrea Bocelli Live: Lighting

In this final article we focus on lighting, by interviewing the man who is in charge of the “light package”, except videos and videowall contents, which are managed by another team.

A Bocelli show, as Aldo Visentin tells us in the interview, does not need particular tricks, except a precise illumination of the Artist, the guests and the orchestra.

There is a very small margin for creativity and freedom in creating the lighting design, mainly because both the production and the management always ask Aldo a specific “sober” kind of show.

Aldo Visentin is completely up to the task, but we believe that if he had the chance – and the final ok by the production team – to “dare a little more”, the show would benefit in some way. It is also true that nobody would ever expect beams of light or strobes on the public for this music genre. On the contrary, the use of discharge sources was very effective, and we never regretted the lack of incandescences, which proves that the “difference” is made by the way technology is used.

What seemed a bit “meager” was the video, which is almost limited to the live feed on the central screen and some static content. A more articulated pre-production work on contents would make the concert more interesting and evocative. But this may not be the will of the Artist…

In the video below you can find the interview with Aldo Visentin by!

Aldo Visentin: my responsibilities in this production are focused on all the aspects of the lighting, except videos which are managed by other people. So, I plan and program the whole show, and I am also at the console during the concert. how do you organize the show setup?

Aldo Visentin: being so popular abroad, Bocelli does not make real tours. It is more likely that he moves among capital cities around the world for “one shot” concerts, which is more like “gigging”; that is why I must re-invent or adapt the show according to what the local rental company can give me.

This implies a huge preventive work for each location, a relative plot, a relative programming and, often, more work on the console, which is not always the same. how can you guarantee the same qualitative standard?

Aldo Visentin: first of all, during the planning phase, we can figure out how good a support we are going to obtain for a concert. Luckily we often return in the same places, where we know both the people and the structures, and everything becomes easier. However, when we meet new production teams there is a margin of risk, which is always taken into account and faced by means of an “adapting and re-arranging” approach during the study phase. what does the Artist ask you? How do interact with him?

Aldo Visentin: actually, we have a work-team, composed of audio, lighting and video departments, who interact with the Artist’s management every day. When I started working for Bocelli, we began by getting to know each other, to understand the “taste” of the show. Everything gets smoother with time and experience, and now we only meet when we are beginning a new project or tour. how do you illuminate Andrea Bocelli on stage?

Aldo Visentin: my job is very simple; the paramount factor is illuminating the Artist and the various guests who come on stage. Bocelli is obviously a static figure so, from this perspective, my task is facilitated. My greatest concern is finding the right colour and white temperatures, so that his image is good on the maxi-screens. Then I need to illuminate the orchestra in the correct way, because it is rather big and it gives colour to the show. you told me that you use no incandesceces, which is the opposite of what I thought. Why?

Aldo Visentin: it is a decision that we developed in time and during rehearsals. Let’s say that I don’t have enough time to correctly place incandescent lights every time. Moving heads, on the contrary, allow me to shorten times and the result is always satisfying. I heard somebody in the arena talk about UNIONS. Can you tell me what they are, as you often work in the USA?

Aldo Visentin: UNIONS are organisations that give warranties to the various jobs – from porterage to technical jobs – and serve a lot of people who work at the structures that host traveling shows. This happens in different measures according to the State or city you are working in, but I should compulsorily hire at least some local people every time. The classic example are follow-spot operators, who are almost always hired ‘in loco’ but the hired people are often many more. For example, there are very restrictive rules for New York theatres, where the UNIONS are very strong.

Aldo “Hucchio” Chiappini

ZioGiorgio Network

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