ROME (AP) — Hidden behind a rusty gate near Rome’s Circus Maximus lies a remarkable building, often overlooked by the throngs of tourists passing by. This unassuming structure, with its faded and flaking paint, harbors a vibrant world dedicated to one of Italy's most prestigious cultural institutions – the Rome Opera House. Once a pasta factory, the building was repurposed nearly a century ago into a warehouse and workshop that now houses an impressive collection of scenic backdrops and approximately 70,000 costumes accumulated over a century of performances.
This year marks a significant milestone as the opera house’s talented costume designers, tailors, and seamstresses engage in a meticulous project: recreating the original costumes for Giacomo Puccini’s opera "Tosca," which premiered 125 years ago. Set in 19th-century Rome, "Tosca" is a gripping tale of passion, betrayal, and sacrifice featuring a striking heroine compelled to commit murder to protect her love and honor. Anna Biagiotti, the costume director, emphasized the importance of authenticity in the recreation process, noting that all necessary costume sketches are available and quite detailed.
Biagiotti has created a comprehensive binder, referred to as “the bible” by her team, filled with copies of the original sketches and meticulous notes. To facilitate the work of around 30 tailors, Biagiotti has even transcribed the original designer Adolph Hohenstein's handwritten notes into clear and legible text. The team works in a compact workspace above the opera house, diligently crafting around 700 costumes annually for various opera and ballet performances. Once completed, these costumes are stored carefully in the warehouse, shielded by plastic dry-cleaning covers, but there is an absence of digital tracking—relying instead on the expertise of designers and tailors who are intimately acquainted with their craft.
Meanwhile, on the warehouse's top floor, set designers engage in their own creative tasks. They labor in a spacious loft, where they apply paint to create a lifelike representation of a Roman palazzo on a flat surface. The meticulous technique involves using brushes with unusually long handles, ideal for painting ancient doors, archways, statues, and frescoes that contribute to the overall visual illusion. An overhead walkway allows for oversight, ensuring the artistic composition achieves the desired effect. Danilo Mancini, who oversees set production, commented on the challenges faced by traditional craftsmanship as modern venues shift towards LED displays and projections, a trend the Rome Opera House actively resists in favor of time-honored methods.
Both Mancini and music director Michele Mariotti express deep gratitude to Puccini, recognizing his genius not only in musical composition but also for his theatrical insight, which breathes life into his works. Mariotti stated, "If we are all here, we must be grateful to him... for its survival," underscoring the vital role of regeneration in keeping opera alive for future generations.
