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Prints are available in limited signed, numbered editions of 50, printed on 310 gsm matt Hahnemühle Rag, 100% cotton, acid-free, archival quality. All items come with artist’s stamp and signature and certificate of authenticity.
Ariodante
ar-18 Ariodante – Slide 18 ‘Pascoe treated the story as a political power struggle, and in the final tableau those left on stage – even the requisite royal hound – all fight for the abandoned crown.’
ar-17 Ariodante – Slide 17 ‘After the acclaim obtained by his ironic and nude Ercole, the British director John Pascoe came back to Spoleto Festival to direct and design an original version of Handel’s Ariodante. Once again he communicated something new.’
ar-16 Ariodante – Slide 16 ‘What is incontrovertible is that this is a very, very good DVD of a great Handel opera. If you need to expand your horizon and move into the baroque – or know someone who would like to do so – then you will be hard put to start with anything better.’
ar-15 Ariodante – Slide 15 ‘John Pascoe has created a sober and classic interpretation. I heartily recommend that you buy this DVD.’
ar-14 Ariodante – Slide 14 ‘A magnificent production by Alan Curtis and John Pascoe of Handel’s Ariodante.’
ar-13 Ariodante – Slide 13 ‘The sets are extremely effective. The lighting is very good – unobtrusive for the daylight scenes and suitably atmospheric for the night time, while the scenes Pascoe sets in silhouettes and tableaux are outstanding.’
ar-12 Ariodante – Slide 12 ‘John Pascoe provided the sets, costumes and production and successfully transferred the action to the mid-twentieth century, marking parallels between Ginevra and Princess Margaret. The two Acts are finely motivated and richly characterised with a fine use of space.’
ar-11 Ariodante – Slide 11 ‘Pascoe’s design emphasises 1950s glamour in a rich palette of black, white and grey, with chic tartan elements and handsome military uniforms, while cigarettes dangle from elegantly gloved hands.’
ar-10 Ariodante – Slide 10 ‘Love, betrayal and keeping up appearances form the plot. So director John Pascoe set his production in the glamorous aesthetic of the British monarchy in 1956. The women (at least those playing women) are modelled on Princess Margaret, a worthy emblem of couture.’
ar-9 Ariodante – Slide 09 ‘In her portrait neckline and upswept hair, Ginevra resembles Princess Margaret, society-page fodder long before Princess Di.’
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