Gaetano La Mela: “zactrack has proven to be the best solution from the start”
- 22 hours ago
- 5 min read
Updated: 4 hours ago
In his interview with ACE, lighting designer Gaetano La Mela discusses the stage and lighting design for The Valkyrie, and his decision to integrate zactrack SMART into this grand-scale production.
On April 29, 2025, the National Centre for the Performing Arts (NCPA) premiered its production of Wagner’s opera Die Walküre (The Valkyrie). To support the complex and dynamic lighting requirements of the show, Gaetano La Mela utilized a zactrack smart system, incorporating11 anchors and multiple trackers to deliver precise, automated lighting control.
Interviewer: To start, could you tell us about your approach to the lighting design for The Valkyrie?
Gaetano La Mela: We had very little time to complete the lighting design for the show. Every rehearsal brought new changes to the lighting plan. Despite installing over 430 lighting fixtures, the goal was always to keep the stage as dark as possible while still precisely illuminating the actors and set elements. I tried to minimize mirror reflections to enhance D-Wok's floor projections, creating a dual visual dimension without distracting light spots. It is amazing to think how much equipment is needed just to create darkness!
Working with Maestro Livermore is both challenging and inspiring — he’s a true artist and visionary. There was no room to restrict his artistic expression with a lighting design that compromised on equipment or lexibility. Tilting the light projections of all the devices, for example, wouldn’t have been possible because the mirrors would have caused reflections everywhere.
Therefore, my work wasn’t focused on increasing the light on the stage, but reducing it. I needed enough lamp power and lamp placement so that the light appeared exactly at the moment I needed it - like a constantly forming, constantly changing matrix of light.
Interviewer: What were the main challenges in designing the lighting for this three-act show featuring a large LED screen and grille?
Gaetano La Mela: The biggest challenge was compressing the programming time for the lighting cues. Without zactrack, we would have been programming all the cues manually. Working with two MA consoles was very effective: one handled programming the opera lighting cues synchronized with the LED wall content, while the other managed zactrack and programmed cues for the Huracan luminaires tracking the performers.
The strong backlighting from the LED wall caused glare for the audience and complicated the actors’ lighting design. Thanks to the Huracan’s ideal resolution and light intensity, we achieved the effect of characters visually “penetrating” the stage.
Interviewer: As just mentioned, you used zactrack in the production of Die Walküre at the NCPA. Could you briefly explain the reasons behind choosing this system?
Gaetano La Mela: I have worked on lighting designs for operas with mirrored floors and walls many times. While some reflected light is unavoidable, it can usually be minimized through creative masking or reducing light intensity—though this often takes considerable time. In this production, the zactrack system proved to be the best solution from the very beginning: it significantly reduced programming time and helped achieve the stunning visual effects seen in the stage photos.
Interviewer: What do you think are the biggest advantages of the zactrack system?
Gaetano La Mela: There are two major advantages: first, programming time is greatly reduced; second, it allows for the creation of very precise moving light zones for the actors—they seem to be walking in the dark but are perfectly outlined by the light. We achieve that cinematic lighting effect—accurately framing the actors, similar to the “American lens composition” used in film—by using Huracan lamps.
Interviewer: Do you plan to continue using the zactrack system for future productions?
Gaetano La Mela: I am very happy with the results and would very much like to continue using zactrack in future projects. It has become an indispensable tool, especially when setup time is limited. Nowadays, it’s rare for productions to take multiple days to set up, so zactrack effectively solves the problem of insufficient programming time.
Additionally, zactrack has proven crucial in opera performances. During shows, actors focus on
singing and following the orchestra led by the conductor, often not strictly adhering to the director’s set positions or movements. Thanks to zactrack, the lighting remains accurate even when actors deviate from the planned stage choreography. They no longer need to worry about standing in the exact spot to catch the light while performing. This freedom allows actors to concentrate fully on their performance.
Interviewer: What do you think of the Chinese lighting team for this show?
Gaetano La Mela: Great! This is a highly skilled and professional team. The show’s success—and the audience’s and professionals’ appreciation—is thanks to their dedication. Special thanks to the National Grand Theater’s stage technical team, especially the lighting team.
Also, the ACE technical support team gave me great support and confidence. Special thanks to: the dreamlike stage design by Eleonora Peronetti and Gep Cucco, video content by Salvo Nostrato, the stunning costumes crafted by the talented Mariana Fracasso, Diego Mingolla for his work as assistant director, and my highest respect to Maestro Davide Livermore—his artistic vision made all of this possible.
About Gaetano La Mela Gaetano La Mela, born in Catania, began his career in his hometown, where he developed a deep artistic sensitivity to the expressive potential of light. His lighting designs have been featured in numerous notable Italian productions, such as “Los cuentos de la peste”, “Appuntamento a Londra”and “La Chunga” by Mario Vargas Llosa directed by Carlo Sciaccaluga; "Six Characters in Search of an Author" by Pirandello, directed by Michele Placido; “The Adventures of Pinocchio” by Scardati, directed by Livia Giannifrida; “The She-Wolf”, directed by Donatella Finocchiaro; and “Joan of Arc”, directed by Luca De Fusco. Gaetano La Mela is highly regarded by directors and critics for his concept of "Theatrical Narrative of Light", and how he blends traditional artisan lighting techniques with modern programming and scene composition. In 2024, he won the "Danzuso Award" for Stylistic Exercises and the Italian Theater Mask Award for Best Lighting Design. La Mela is currently the resident lighting designer at the Permanent Theatre in Catania. |  |
This interview has been slightly shortened. Read the original interview in Mandarin on ACE’s
