How did Andrea get to know De Gregori? "I have been working with Agorà for more than ten years. I met De Gregori in the summer of 2008, when I stood in for his previous lighting operator, who was no longer available. From that moment on, I started working continuously with the artist and the production team. This means I present new designs whenever a new tour starts. I have been designing the lighting for De Gregori for six years.
"I have grown together with Francesco. In the early years, Francesco had a minimalist idea of show aesthetics: he preferred a plain stage, with no particular special or lighting effects. Over time he developed the idea that stage design also played an important role in the final concert rendition. Several projects followed. The first consisted of a black theatrical setting and lighting effects only. We then moved onto more complex sets with scenery and backdrops, right up to the most recent, dynamic designs with curtains and light projectors on the backdrop. His latest tour was called Viva Voce 2015. It started in March and has just ended with the 40 years of Rimmel concert at the Verona Arena on 22 September."
Indoor arenas and the Verona Arena are challenging settings, which are very different to each other. Which Clay Paky lights did De Gregori rely on?
"Setting up the technical systems is always the most challenging task. Viva Voce 2015 evolved several times as it was going along. We started with six dates in indoor arenas. Then, once we got to the first theatre, we had to adapt the technical specifications of the concert. During the summer, the show equipment is different again: lighter and more agile. You go around with half the production equipment since most of the systems and structures are already waiting for you on site. In the original design (the most complex version), the main stage lighting consisted almost entirely of Clay Paky equipment.
"The lights were arranged on three battens: one at the front and two levels of back lighting. Alpha Profile 1500s, which are very powerful with a versatile optical unit, were alternated with Sharpy Wash 330s, which are compact, lightweight, silent and fast. They are also powerful and have all the classic Clay Paky colours. Both of these lights are fitted with OSRAM lamps.
"I love to add softer side lights to this basic design (in this case LED wash units) to illuminate the scenery. This technique comes from the theatre, but it is not always used in concerts. I have used this arrangement for several years at Francesco De Gregori concerts, since it allows me to mix side lighting with front lighting and back lighting to create the main atmosphere at the concert.
"Lastly, I opted for compact, lightweight Alpha Beam 700s for the backdrop: I needed lights with a fairly substantial, clearly visible light beam since they were the key dynamic element of the show. These lights met my needs fully with their focused beam, gobos and CMY colour mixing system. I intermixed some Chromlech Jarag units with them, which are 5 x 5 matrices with halogen lamps."
(Jim Evans)
