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OSA provides Ayrton lighting, GrandMA3 consoles and MDG TheOne atmospheric generators to Andrea Bocelli’s North American Tour

Las Vegas-based OSA International, Inc. provided Ayrton Huracán LT and Zonda 9 FX lighting fixtures, GrandMA3 consoles and MDG TheOne atmospheric generators to lighting designer Aldo Visentin for the North American leg of legendary Italian tenor Andrea Bocelli’s arena tour.

Bocelli kicked off his run of US and Canadian dates with a Valentine’s Day performance in Raleigh, North Carolina, and wrapped his tour in Detroit on April 14, 2024. OSA, which delivers entertainment technology, event production and system integration, provided lighting, rigging, audio and video equipment for the tour.

A member of Show-Crew, Aldo Visentin has been Bocelli’s lighting designer since 2006. He used Ayrton fixtures on the singer’s previous set, which toured for almost two years, primarily in Europe. Visentin designed the new set with four stage left and four stage right trusses arranged in a fan at different heights and tilted to increase the perspective look. Located predominantly downstage, each of the 30-foot-long fingers carried the profile, wash and hybrid fixtures grouped in arrays of four units. Two front trusses held the profile units dedicated as key lights. Each truss also carried two- and four-light LED blinders.

OSA provided 68 Ayrton Huracán LT fixtures to Visentin’s specifications. “Since the rig was flown high above the deck it needed long-throw lensing”, notes Mark Fetto, Vice President Lighting at OSA International. Visentin adds: “The Huracáns were definitely the main actors. Their fundamental roles were to texture the orchestra through gobos and animation effects, draw all the symmetrical mid-air beam figures, create all the effects on the audience and serve as the artists’ and choir’s key lights.” The set had a relatively high trim, between 40 and 50 feet above stage level.

OSA suggested sixteen Zonda 9 FX to Visentin as his main wash fixtures. “The Zondas performed the difficult task of giving colour and ‘body’ to the set, while lighting the orchestra”, he explains. “They were the soldiers of what I call ‘emulsion-light’. Through a right colours combination, they enhanced the contrast generated in combination with the Huracán beams.”

For lighting control, OSA supplied Visentin with two GrandMA3 full-size consoles as he requested. “I have been using GrandMA3 software since last year”, he says. “The new software, in addition to offering new potentials to the classic functionalities, responds much better to Andrea Bocelli’s touring. On a global level, the touring production often is not able to be consistent, so GrandMA3 helps me more precisely than before to quickly convert my show to the different equipment we encounter locally. Furthermore, the introduction of a greater quantity of physical controls helps me with the busking playback type of show that meets specific artists’ needs.”

OSA also furnished two MDG TheOnes. “I always request MDG machines, the number and model depending on the venue”, notes Visentin. “For the Bocelli show, the aim is to fill the venue at the right level, which means not so much as to be obvious to the audience but enough to enhance all the volumetric mid-air effects.”

(Photos: Dennis Suglich)

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