Fort Worth Opera has many set pieces and costumes for rent. The following sets are currently available. For more information, contact Adam Schwartz, Production Manager, at 817.731.0833 ext. 24 or email@example.com.
A remnant of the collapse of Baltimore Opera, this sparkling production was saved from destruction. A whimsical front curtain, a partitioned-out house and a luxurious ballroom with poufs, fountains and potted palms give a festive air to the party scenes.
"The sets - particularly the cross-section of the Eisenstein mansion, which displayed a study, the master bedroom, and connecting corridor - were fantastic, as were the costumes." Josephine Yun, Baltimore City Paper (Baltimore Opera Company)
Faithful reproduction of the 3 historical locations. Relatively shallow production, this beautifully rendered set can fill a wide stage.
"Top opera billing may not typically go to the stage director and the set designer, but this dramatically engaging Tosca owes much to Bernard Uzan's fluent, savvy stage direction and to the eye-popping sets evoking the grandeur of Rome, circa 1800, that Andrew Horn created originally. Here is opera as theater, the narrative charged by the music and the whole framed and focused by a detailed, naturalistic setting." Lawrence B. Johnson, The Detroit News (Michigan Opera Theatre)
Dead Man Walking
This unit set uses multiple layers of chain link fencing and minimal projections to support the storyline and the fast transitions between the scenes.
"Multi-tiered, cage-like sets by Harry Frehner and Scott Reid (originally designed for Calgary Opera) were grim but never oppressive; their transparency almost suggested the possibility of discovery and light in the midst of the dark situation." Wayne Lee Gay, Theater Jones (Fort Worth Opera)
Angels in America
A breakthrough design for this piece, the basic units are enhanced with furniture or architectural pieces, supported by an evocative projection scheme, to create a very fluid transition from scene to scene of this complex work.
"David Gately's staging put the clunky Parisian production to shame. He kept scenes brisk, characters vivid and story clear; he even restored a major speech from the play. Peter Nigrini provided video projections and simple, evocative set designs for the opera's many scenes, including some on rolling platforms. Often, a single prop sufficed to establish period and character, reinforced by the eloquent costumes from designer Claudia Stephens." William V. Madison, Opera News (Fort Worth Opera)
Amahl and the Night Visitors
A simple unit house that practically clamps together creates the humble setting. Sized to play on a small stage, or expanded with cutout hillsides in the distance, this is a very flexible production.
For more information, contact Adam Schwartz, Production Manager, at 817.731.0833 ext. 24 or firstname.lastname@example.org.