what we love doing

Video Design for Opera, Theatre and Large Events

Roberto has been video designer for the Fête des Vignerons 2019, Switzerland, 375’000 spectators, part of UNESCO’s Intangible Cultural Heritage, a $100M production and one of Switzerland's top cultural events which featured the world’s largest led floor for an event: 783 m2. In 2017 he designed the giant seascape for the outdoor multimedia Show AVUDO for Montreal’s 375th anniversary (250’000 spectators, 120x50 meters large scale video projections) and in 2014 he created the volumetric videos for the giant LED forest of the Sochi Olympic Games Closing Ceremony and the Paralympic Opening Ceremony (massive kinetic LED sculpture featuring over 20km of video LED strips). Roberto has been video set designer for the operas Einstein on the Beach (Grand Théâtre de Genève 2019), Carmen (Teatro San Carlo, 2015 and 2017), La Traviata (Mariinsky II Theatre, 2015, now in the repertoire), L’Amour de loin (English National Opera, 2009, the Vlaamse Opera, 2010, and the Canadian Opera Company, 2012), Aida (Mariinsky Theatre, 2011, now in the repertoire and recipient of a nomination for the Golden Mask), Messa da Requiem di Giuseppe Verdi (Mariinsky Theatre, 2012, now in the repertoire) and for the theatrical shows Abrazos (2019, presented at the fair Feria de León in Mexico to an audience of 200,000 spectators), Per Te (2016, ongoing world tour), La Verità (2013, ongoing world tour) and Donka - A Letter to Chekhov (2010, ongoing world tour).

Opera
(2019 Opera) Concepteur vidéo de "Einstein on the Beach" Grand Théâtre de Genève
(2015 Opera) Carmen - Teatro San Carlo - Video Reference
(2015 Opera) Traviata - Mariinsky II - Video Reference
(2012 Opera) Requiem - Mariinsky I - Video Reference
(2012 Opera) L’Amour de loin - Canadian Opera Company (2011 Opera) Aida - Mariinsky Concert Hall - Video Reference
(2010 Opera) L’Amour de loin - The Vlaamse Opera
(2009 Opera) L’Amour de loin - English National Opera
 
Large Events:
2019 Fête des Vignerons
Video Design
+ Member of Creative Team
«FEVI Artistic Team | FR | DE | IT |
La Fête des Vignerons 2019 broke records and starred the largest LED floor deployed at an event
2014 Sochi Winter Olympics
Video Design + Member of Creative Team

Volumetric Video Content for the three dimensional "forest of light" for the Sochi 2014 Olympic Closing Ceremony and Paralympic Opening Ceremony
 
Generative Art:
(2019 Show) Video Design for Abrazos - La Feria de León
(2018 Exhibition) Video Installation - Louis Kahn e Venezia
(2018 Immersive Environment) Infinity Room
(2017 Large Scale) Avudo - Montréal - Generative Seascape
(2015 Opera) Carmen - Teatro San Carlo - Interactive Lighting

In the Press

Tribune de Genève: Einstein, dans le décor d'une féerie
«Einstein on the Beach» éblouit sur la scène et dans la fosse du Grand Théâtre. "Prenez la vidéo conçue par Roberto Vitalini. Elle a donné du relief à la toile posée régulièrement sur le devant de la scène et accompagné des jeux d’ombres chinoises saisissants, faits de ruptures d’échelle entre les objets et les personnages projetés. Tout est question de relativité et de points de vue, nous dit ce petit tour de magie."
// Rocco Zacheo, Tribune de Genève, 12 Sept. 2019

 
Le Temps: «Einstein on the Beach» réenchanté à Genève
"Sur le plateau, c’est une fête incessante de projections vidéo (Roberto Vitalini) entre nuages, eau, fumées, plongée dans l’infini scientifique ou envol vers le mystère de la vie. Si les images et les notes semblent parfois se dissocier et se distendre, si le style prolifique des unes peut quelquefois perturber l’organisation intime très fine et délicate de l’autre, leur rencontre produit un effet aussi éblouissant que touchant. A l’image de cette bibliothèque d’Einstein montant vers le ciel, de ces bicyclettes volantes et scènes balnéaires aux échos d’enfance, ou naïade aux ondoiements rouges évoluant dans un aquarium illuminé."
// Sylvie Bonier, Le Temps, 12 Sept. 2019

 
SRF Tagesschau, 12 Sept. 2019, 19:30 Uhr
«Einstein on the Beach» von Philip Glass in Genf. Der Theaterzauber «Einstein on the Beach» entführt in eine mystische Welt voller Emotionen. Ein Spektakel für jedermann am Festival de la Bâtie in Genf.
 
NZZ: Selbst der Schimmel schreitet im Takt
Und eine 3-D-Videotechnik auf dem neuesten Stand (Video: Roberto Vitalini) bewirkt, dass man immer wieder den Boden unter den Füssen verliert. Da schaut man auf eine Wolkendecke- oder ist es Wasser? -, und plötzlich verwandelt sich das in eine apokalyptische Achterbahn.
// Thomas Schachers, NZZ, 14 Sept. 2019

 
"Ich möchte Bilder zeigen und die traumverlorene Seite und die fast kontemplativen Aspekte dieses Werksherausarbeiten", so Finzi Pasca über seinen Inszenierungsansatz für Glass Oper, der mit der Videokunst von Roberto Vitalini, dem Lichtkonzept von Alexis Bowles, der Choreographie von Maria Bonzanigo sowie Elementen des Zirkus verschmilzt. Das Bühnenbild von Hugo Gargiulo und die Kostüme von Giovanna Buzzi leisten ihren eigenen Beitrag zu den als eindrucksvolles Gesamtkunstwerk konzipierten Aufführungen von Glass Oper.
 

BASHIBA Experiments and Visions

2010 BASHIBA Design: 3D Printed Jewelry
BASHIBA Rings stems from a desire to turn some of our ideas into permanent objects that people can wear forever. We simply loved the idea of printing our designs with a 3D Metal Printer

 

2006 BASHIBA Patent: In Echtzeit teilehmende oder (re-)agierende Instinkt-Kommunikations-Kanal-Hyperoberfläche, insbesondere zum Verstärken eines Informationsbewusstseins
In 2006 Roberto Vitalini filed the patent "Instinctive Communication Channel for the perception of Multivariate Data Changes". At the same time he started the development of BASHIBA Panorama, a customizable real-time data visualization engine that can be connected to any type of relevant information that requires permanent monitoring and is subject to change (financial data, traffic data, performance data, KPIs, etc...). Information is transformed from up to one hundred individual data streams into competing environmental forces which affect the scenery in subtle and often surprising ways. Trends and eventual problems appear as anomalies in the weather conditions and the surface of the sea. The BASHIBA Panorama is instinctively legible and transits emotional sensations together with vital information.

 

Press

(2019) 24 heures: Video Interview, Roberto Vitalini
 
(2019) BBC: The world’s most extravagant wine event
 
(2019) AV Magazine: Once-in-a-generation Swiss spectacular
In terms of technology, The production broke records and starred the largest LED floor deployed at an event
 
(2019) NZZ: Einmal pro Generation ein Fest der Superlative
 
(2019) The Guardian: Switzerland's wine festival – in pictures
 
(2019) 24 heures: Innovation technologique impressionnante, le plancher LED – sans doute le plus grand du monde en extérieur – permet d’ajouter une dimension magique au spectacle
 
(2019) ArtTechs: A la découverte de la technologie du LED floor
 
(2019) 24heures: Infographie Led Floor
 
(2018) 24 heures: La Fête évoluera sur un plateau de lumière
 
 

Roberto Vitalini

Roberto Vitalini was born in Lugano, Switzerland, in 1971.
He gained an MBA from the University of St.Gallen and specialized in Media and Communication at Saint Mary's College of California.
Roberto is the founder and creative director of BASHIBA, a company dealing in imaginary universes, video art, interactive art and video scenography.
Since 2009, Roberto creates the video scenography for productions staged by Daniele Finzi Pasca.
Roberto has been video designer for the Fête des Vignerons 2019, Switzerland, 375’000 spectators, part of UNESCO’s Intangible Cultural Heritage, a $100M production and one of Switzerland's top cultural events which featured the world’s largest led floor for an event: 783 m2. In 2017 he designed the giant seascape for the outdoor multimedia Show AVUDO for Montreal’s 375th anniversary (250’000 spectators, 120x50 meters large scale video projections) and in 2014 he created the volumetric videos for the giant LED forest of the Sochi Olympic Games Closing Ceremony and the Paralympic Opening Ceremony (massive kinetic LED sculpture featuring over 20km of video LED strips). Roberto has been video set designer for the operas Einstein on the Beach (Grand Théâtre de Genève 2019), Carmen (Teatro San Carlo, 2015 and 2017), La Traviata (Mariinsky II Theatre, 2015, now in the repertoire), L’Amour de loin (English National Opera, 2009, the Vlaamse Opera, 2010, and the Canadian Opera Company, 2012), Aida (Mariinsky Theatre, 2011, now in the repertoire and recipient of a nomination for the Golden Mask), Messa da Requiem di Giuseppe Verdi (Mariinsky Theatre, 2012, now in the repertoire) and for the theatrical shows Abrazos (2019, presented at the fair Feria de León in Mexico to an audience of 200,000 spectators), Per Te (2016, ongoing world tour), La Verità (2013, ongoing world tour) and Donka - A Letter to Chekhov (2010, ongoing world tour).

 

Roberto Vitalini est né en 1971 à Lugano. Il est à la tête de BASHIBA, une société qui s’occupe d’univers imaginaires, vidéo art, interactive art, vidéo scénographies. Depuis 2009, Roberto signe la scénographie vidéo des productions mises en scène par Daniele Finzi Pasca.

 

Roberto Vitalini, wurde 1971 in Lugano geboren. Er leitet das Unternehmen BASHIBA, das sich der Umsetzung von imaginären Universen, Videokunst, interaktiver Kunst und Videodesign verschrieben hat. Seit 2009 ist Roberto mit dem Videodesign für Produktionen von Daniele Finzi Pasca betraut.

 

CV

  • If I had seen nothing but the stunning Act IV sequence on board the ship headed for Tripoli, where the work of the other designers is joined by eloquent projections from Roberto Vitalini, I would have been able to go home content from the visual splendour.

    Richard Ouzounian

    Theatre Critic thestar.com
  • Saariaho's writing works best describing images like the ocean crossing, one of the most brilliant scenes in this production where light images are projected onto waving expanses of silk.

    Anne Ozorio

    Opera Critic Opera Today
  • From the opening moment where a shock of blue silk floats over the audience's heads to the stage we are in a kind of temporal limbo with psychedelic seascapes ultimately suggesting an eternal divide. What is so wonderful about Finzi Pasca’s work, assisted by Jean Rabasse (set), Kevin Pollard (costumes) and Roberto Vitalini (video), is that it opens up the poetic range of a score that has hitherto seemed overly static.

    Andrew Clarkco

    Opera Critic FT.com