Production Lighting by Duane Schuler
The Wall Street Journal recently reviewed Bel Canto, the new opera by Jimmy Lopez and librettist Nilo Cruz. Duane Schuler's lighting for the first new opera by Lyric Opera Chicago in 10 years received a positive review: "David Korin's set, an elegant room with a double staircase, tall windows, and a massive chandelier, suggested how grandeur can become claustrophic confinement...Duane Schuler's lighting painted the different moods, from the brilliance of the party to the bleached exhaustion of the long siege. Constance Hoffman's costumes evoked the period and gradual commingling of identity of captors and captives, while Greg Emetaz's projections of stars, forests, and city lights subtly communicated both dreams and reailty."
In addition to lighting for Bel Canto, Duane Schuler recently designed the lighting for the highly successful production of The Sound of Music at the Lyric Opera of Chicago. The Chicago Tribune’s review had this to say: “Scenes in those cloisters include a wedding pastiche quite thrilling in its spectacle, thanks in no small part to the lighting of Duane Schuler and the grand, yet somehow breathable, costumes of Alejo Vietti.”
Click here to read the full review.
Duane's other recent productions include La Fanciulla del West at the Paris Opera, Rigoletto for the English National Opera and Lucia di Lammermoor for The Los Angeles Opera.
Upcoming projects include La donna del lago for the Metropolitan Opera, Turandot at Teatro alla Scala, Milan, and Don Pasquale at Gran Teatre del Liceu, Opera Barcelona.
Significant previous productions include Benvenuto Cellini and Elektra at the Salzburg Festival, Dead Man Walking at the Staatsoper Dresden, Eugene Onegin and Pique Dame for Opera de Lyon, Tannhäuser for De Nederlandse Opera, Manon for the Staatsoper Berlin, Robert le diable for the Royal Opera House in London, Lohengrin and Lulu at La Scala, and Pelléas et Mélisande at the Metropolitan Opera.
Duane says, "Lighting design is a 40-year labor of love for me. Early in my career, I assisted Gilbert Hemsley at The Kennedy Center on the premiere of Leonard Bernstein's Mass. That work, and the wonderful design work that Gilbert did on so many productions, was an inspiration. I continue to marvel at the power and beauty of light, both on and off the stage."
"The redoubtable Duane Schuler’s lighting was of the highest caliber throughout."
James Sohre for Opera Today, covering La Fanciulla del West in Amsterdam