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Paul Sheren further adds that the formula noted by
Snowman "satisfied the aesthetic needs of romantic audiences for spectacle". Sheren concludes by noting that "one reason for Saquirico's international influence was the portfolios of hand-coloured engravings based on his theatrical and architectural
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in Paris strove to re-create visually the spirit and scale of the
Romantic dramas their designs would showcase. Sets would typically reveal a rich embellished foreground featuring evocative architecture of an earlier age, opening out onto a distant landscape bordered by a moving diorama instead of a
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Another noted aspect of his work was that stage lighting, initially oil and Argand lamps, worked well with "his balance of contrasts and colours", but they helped create the "moods suggested in the librettos of many operas overwhelming panic at the impending destruction of Pompei in Pacini's
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for Naples in 1825" and for La Scala in 1826. Additionally, in regard to lighting, by the end of his career (he retired in 1832), Sanquirico adapted to the introduction of gas lighting with the result that "his painted scenery showed a sensitivity to the nuances of light".
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In describing the scale of
Sanquirico's work, Daniel Snowman discusses some its features in relation to the growing Romantic style of Italian opera from the 1820s forward:
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For fifteen years, from 1818 to 1832, Sanquirico dominated the visual style of La Scala, not only on stage, but also in the auditorium. He designed the ballets of
79:– 12 March 1849, in Milan) was an Italian scenic designer, architect, and painter. He began his career in conjunction with leading artists of the time such as
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Raccolta di varie decorazioni sceniche inventate e dipinte dal pittore
Alessandro Sanquirico per I´ll Reale teatro alla Scala in Milano
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Altogether, he designed over 300 productions for that house, including many premières. Specifically, they included four operas by
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83:, Giovanni Pedroni, Giovanni Perego, and Georgio Fuentes. Additionally, he studied architecture and perspective with
393:. Milan and Florence: Ricordi & Co. c. 1830-40 (1830). Presumed to be 3rd edition following 1818—29 versions.
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nell'immaginazione di
Alessandro Sanquirico (ovvero: Come ricostruire una cittĂ per poterla distruggere)".
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volumes is included in the "Sources" below. They were published by
Ricordi in Milan from 1818 onward.
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On a broader scale on the advancement of operatic styles, Baker suggests that the spectacular set for
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From the Score to the Stage: An
Illustrated History of Continental opera Production and Staging
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in 1831. His set designs were prepared for
Donizetti's works at La Scala, and these included
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drawings were published and extensively circulated and copied." An example of one of the
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Stage designs took on new life as imaginative artists such as
Sanquirico in Milan and
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at the beginning of the 19th century, and the world premières of
Rossini's
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Olivero, Gabriella (2015). "The "New" Bablylon by Alessandro Sanquirico".
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He provided the decorations for the celebration of the crowning of
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Music in Art: International Journal for Music Iconography
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Music in Art: International Journal for Music Iconography
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Alessandro Sanquirico. Teatro, feste, trionfi (1777-1849)
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of Milan and provided the scenography for ballets by
325:. Chicago and London: University of Chicago Press.
253:"played a significant role in the establishment of
399:Sheren, Paul (1998), "Sanquirico, Alessandro", in
110:Alessando Sanquirico (Litho Roberto Focosi, 1822)
336:Bianconi, Lorenzo; Giorgio Pestelli (eds.)(1988)
409:, Vol. Four. London: Macmillan Publishers, Inc.
321:Baker, Evan (2013), "Alessandro Sanquirico" in
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33:Sanquirico's set design for the eruption of
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462:Viale Ferrero, Mercedes (2015). "L'
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287:Sheren in Grove 1998, pp. 168–169.
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558:Painters from the Austrian Empire
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548:19th-century Italian male artists
406:The New Grove Dictionary of Opera
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523:18th-century Italian painters
395:Available on Internet Archive
235:Raccolta di varie decorazioni
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362:Kusmick Hansell, Kathleen
338:Storia dell'opera italiana
296:Snowman 2009, pp. 111–112.
430:. London: Atlantic Books.
355:Biography on balletto.net
243:L'ultimo giorno di Pompei
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538:Italian scenic designers
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308:Baker 2013, p. 171–172.
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257:in Paris."
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142:as well as
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215:Assessment
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455:1522-7464
403:, (Ed.),
181:Desenzano
172:in 1833.
127:Il pirata
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366:(1988),
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63:Duomo
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