eTN: What was the impact with Sydney and its inhabitants after the quarantine?
Laura: I loved the city and the incredible nature that surrounds it very much. From a professional point of view, I have had excellent meetings and collaborations that I hope can continue even in less complicated times.
eTN: The Sydney Opera House opened to the public in the middle of the pandemic; what was your impression?
Laura: It was exciting to see the audience back in the theater at a time when Italy was still a long way from this possibility. Obviously, there was no lack of difficulties during the testing period which lasted about a month.
This condition requires a massive commitment in addressing the issues related to the pandemic: the large cast of soloists, the scenic mass of the choir, and the actors had to wear masks and undergo swabs every 2 weeks. However, this did not affect the artistic choices of a production that includes a packed stage, as expected.
Thanks to the attention and professionalism of everyone, we were able to go on stage without masks and present the show to the public on February 2, which applauded the opera in Australia for the first time and the skill of the performers.
eTN: Your impressions upon returning to Italy?
Laura: Unfortunately I returned to a country that was preparing to enter Zone Red and with the doors of the theatres barred. However, I took advantage of this time to work on creating new projects.
eTN: At the moment of our meeting, Italy is preparing to return to a new life. What are the projects of the Teatro Alla Scala, the primary seat of your activities?
Laura: La Scala is reopening its doors to the public and I, as assistant director, will soon begin rehearsals for the opera “Le Nozze di Figaro,” a historical edition created by Giorgio Strehler for La Scala in 1981.
I am working on the design of the installation of an exhibition in Milan, which combines the efforts of many associations active in the area for the fight against HIV/AIDS and which will retrace the fundamental stages of the AIDS pandemic to look to the future with hope.
Laura Galmarini (1991) is an Italian director and set designer. Since 2014 she has been working at Teatro alla Scala assisting directors De Ana, Guth, Wilson, McVicar, Bondy, Asagaroff, Flimm, Pelly, Cavani, and Martone and for the historical revivals of Zeffirelli, Chereau, and Strehler.
Credits include work at Accademia Teatro alla Scala, Cantiere Internazionale d’Arte (Montepulciano, Tuscany), Teatro San Carlo (Naples), Duomo Rooftops (Milan), Festival Puccini (Torre del Lago, Tuscany), Savonlinna Opera Festival (Finland), and direction of L’elisir d’amore (Ragusa, Sicily).