Angela Buscemi costume designer


Costume designer

Angela Buscemi was born in Messina in 1971. She began studying costume in high school.
She graduated at Messina’s Institute of Art before continuing her studies at the Accademia Internazionale d’Alta Moda ed Arte del Costume “Koefia” in Rome. Soon after, she began her career in theatre, collaborating on the staging of a great many operas. Among her most significant projects: Don Carlo at Teatro Mariinsky in St. Petersburg and Macbeth at Teatro alla Scala in Milan. She has created the costumes for a number of musicals and in 2001, with My Fair Lady, gained a nomination for best costumes at the “I.M.T.A Italian Musical Theatre Awards” In 2000, she designed the costumes for the film Metronotte directed by Francesco Calogero, the recipient of an award at the film festival in Annecy. She created the costumes for the short film Regalo di Compleanno directed by Christian Bisceglia, which gained a Special Mention Award by the International Jury when screened at Taormina Film Festival in 2004. Awarded a Special Mention in 2015 for the opera La Belle Helene, Théâtre du Châtelet, Paris, for which she created the costume sketches while working with Cristian Taraborrelli


I have worked with Angela on many projects for comic operas and tragic operas, scenarios and
stories of every type. And with Cristian Taraborrelli, her partner in life and in creative ventures. Angela has an incredible ability to read situations, characters, historical periods, and from this complex mix of data to glean ideas that are extremely sophisticated and original. She has a wealth of inventive solutions, something that goes beyond philology and historiography… I often, though not always, have a tendency to shift period costumes towards the contemporary; I feel that the performance always takes place in the ‘here and now’, and so from our standpoint the opera starts from us as we are now… but this ‘us as we are now’ is always the fruit of an invention, objectivity doesn’t come into it, not if we want to avoid a drift towards a bland, uninspiring realism… and Angela has succeeded many times in transforming this ‘now’ into a vivid portrayal. After all, Caravaggio clothed his subjects in modern attire in all his paintings, in garments belonging to his time, even his Judiths or his St. Matthews… Angela succeeds in always having a imaginative quality, she interprets the director’s vision, and then through the forms and the highly delicate mix of colours creates refined images of pure poetry that embody the spirit of the characters, which collectively form exquisite tableaux.


JOSEPH ROCHLITZ (Theatre Director)

Given the opportunity to stage Kurt Weill’s Marie Galante at the Rome
Opera House in 2007, the first full revival since the original production in Paris in 1934, I was very lucky to have someone as talented and imaginative as Angela Buscemi creating the costumes. We decided to set the story in the 1920s, as written, but to reimagine the characters as though they had been evoked in a dream by our protagonist, Marie Galante. With these guidelines, Angela set free her imagination and produced a series of wonderful sketches: dancers in a seedy saloon bedecked in dazzling ostrich feathers, breathtaking outfits for our leading lady, supremely elegant and character-defining suits for our leading men, expressive and immediately communicative costumes for our secondary roles. Angela has that rare ability to have a clear image of the big picture, making all her costumes part of a coherent whole, while at the same time paying the greatest attention to details and so achieving both beauty and truth in her work. Looking back a few years later at photos of her costumes for Marie Galante, I am again filled with the delight and enthusiasm I felt when I first saw them, and cannot wait for the next opportunity to work with her!




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