Italian 3D printer manufacturer WASP was asked to use its large-format technology to build a full-size theatrical stage. The 3D printed stage was first seen in Rome, for the Daniel Auber‘s “Fra Diavolo” play, directed by Giorgio Barberio Corsetti, with conductor Rory McDonald, on October 8, 2017.
“The challenge presented to us by the Opera Theater was a very risky-one,” said Massimo Moretti, WASP founder, “It had never happened that 3D printing was applied to such a large size project. The plastic we normally use to print has a huge cost when used to produce the 1500 Kg of the scenery. So we decided to turn to a cheaper material, one that, when the scenery will no longer be used, can be easily recycled, shredded and reused for new and different work. For this job at first we rented a shed near our home, now this shed is ours and we are the only 3d printing company able to produce very large objects. This is the case of Fra Diavolo, where art is dragging the industry and opening up new creations and new job opportunities.
The work is described in detail on WASP‘s website. The play was available in streaming video.
Fra Diavolo, ou L’hôtellerie de Terracine (Fra Diavolo, or The Inn of Terracina) is an opéra comique in three acts by the French composer Daniel Auber, from a libretto by Auber’s regular collaborator Eugène Scribe. It is loosely based on the life of the Itrani guerrilla leader Michele Pezza, active in southern Italy in the period 1800-1806, who went under the name of Fra Diavolo (“Brother Devil”).
The opera was first performed by the Opéra-Comique at the Salle Ventadour in Paris on 28 January 1830 and an Italian version was prepared by Auber and Scribe for performance in London in 1857. This contained new recitatives and arias, as well as expanding the roles of Fra Diavolo’s accomplices.
The opera was Auber’s greatest success, one of the most popular works of the 19th century and was in the standard repertory in its original French as well as German and Italian versions. An English translation was also prepared. Hugh Macdonald has characterized this comic opera as “the most successful work of its kind before Offenbach”.