Florencia En El Amazonas

PRODUCTION CREDITS

Directed by Jose Maria Condemi
Composed by Daniel Catán
Scenic Design by Phillip Lienau
Costume Design by Elizabeth Poindexter
Lighting Design by Kenneth Yunker
Video and Projection Design by Aaron Rhyne

PRODUCTION HISTORY

Florida Grand Opera, 2018
Opera Colorado, 2012
Utah Opera, 2013

"As the music played, projections designed by Aaron Rhyne showed stunning images of the undulating river, the ferns, trees and flowers in orange, blue and pink, and an occasional multi-colored bird. The projections were the focal point of Florencia’s stage set, and worked perfectly with the music to communicate the glory and menace of the rainforest.”
- South Florida Classical Review

"But above all, an entire essay could be written about Aaron Rhyne’singenious use of animated projections that track the ever changing sceneryseen from the railing of the boat—vistas of rippling waters, dense jungles,Maxfield Parrish-like clouds at sunset all slowly passing by the El Dorado.”
- South Florida Sun Sentinal

"One dazzling aspect of the production are the stunning projections, designed by the incomparable video artist Aaron Rhyne, the mastermind behind the projections in the Tony-Award winning Broadway musical A Gentleman's Guide to Love and Murder and the soon-to-open Anastasia.”
- Broadway World

"It’s rare to credit the good work of an opera’s production team before the singers, but it’s now or never: Sets by Phillip Lienau, projections by Aaron Rhyne, lighting by James D. Sale, all working under the no-dreams-barred direction of Jose Maria Condemi.”
- The Denver Post

"The whole evening is set on one small steam-powered riverboat as it carries a pack of troubled lovers down the Amazon River in the early 1900s. But the designers open it up, mostly with the help of giant moving images behind the singers. Waves ripple, butts pass, a bird flies off, giant daisies bloom. The backdrop has a streaming, digital feel that makes it part-screensaver, part James Cameron movie.”
- The Denver Post

"Philip Lienau’s set is imaginative and visually stunning, but Aaron Rhyne’s background screen projections, depicting the Amazon River and the city of Manaus, Brazil, are the most extraordinary elements. The storm sequence at the end of Act 1 is especially thrilling."
- Boulder Daily Camera