There's a new look to the lighting at New York City Opera, with a new repertory plot in place for some pretty startling productions. For Verdi's Macbeth, lighting designer Robert Wierzel uses acid yellow to portray a sense of corruption and evil in a post-industrial nightmare on a steel set. For a hyper-contemporary interpretation of Rossini's Italian Girl in Algiers, LD Mark McCullough added a 2.5kW HMI on the floor and 5kW fresnels on stands to compensate for a set with ceilings that
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