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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.
Lucrezia Borgia
lb-31 Lucrezia Borgia – Slide 31 ‘The Pascoe production is an extraordinary contribution to the Donizetti Revival, one that takes a more sophisticated look at the theatricality … that lay hidden even from the work’s twentieth-century admirers.’
lb-30 Lucrezia Borgia – Slide 30 ‘Strong casting and attractive sets assured stellar performances of an opera that more stage directors (and opera critics) should take seriously.
lb-29 Lucrezia Borgia – Slide 29 ‘Credit should go to Renée Fleming for championing the opera and for enlisting John Pascoe, Plàcido Domingo and the Washington National Opera to create the new production.’
lb-28 Lucrezia Borgia – Slide 28 ‘John Pascoe’s thoughtfully conceived production …’
lb-27 Lucrezia Borgia – Slide 27 ‘Renée Fleming exploited her smoky lower register to particularly dramatic effect, boldly digging into every syllable of the text to reveal the troubled heart beating beneath the cool exterior of one of history’s most notorious women.’
lb-26 Lucrezia Borgia – Slide 26 ‘Pascoe did not shy away from any of the taboo elements of the story but delineated them clearly and brought the storyline, subtexts and all, to the front.’
lb-25 Lucrezia Borgia – Slide 25 ‘Renée Fleming introduced California audiences to an opera and to a production that she has championed, the John Pascoe production of Donizetti’s Lucrezia Borgia. The Fleming-Pascoe collaboration, a milestone in Italian opera, is clearly a labour of love.’
lb-24 Lucrezia Borgia – Slide 24 ‘The most striking of Pascoe’s directional flourishes has to do with Gennaro and Maffio’s relationship … he provides an extra dimension to the doomed characters and gives the whole opera a little unexpected spice.’
lb-23 Lucrezia Borgia – Slide 23 ‘Designer-director John Pascoe’s sets … were at once stunning and gorgeous, capturing the right mood and feel for each scene …’
lb-22 Lucrezia Borgia – Slide 22 ‘Finding abundant justification in the libretto for the gay sub-plot, Pascoe cleverly draws it out to provide an extra dimension to the doomed characters, who kiss in the shadows and talk of running off together, before the Borgia curse falls heavily on them.’
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