Roberto Vitalini is founder and creative director of
creation and integration of real-time motion graphics into the fields of theatre, opera and large events.
Roberto has delivered the generative seascape for the multimedia Show AVUDO in the old Port of Montréal (Company Finzi Pasca 2017). He was member of the Creative & Artistic Production team of Company Finzi Pasca and Video Designer for the three dimensional "forest of light" (kinetic giant LED sculpture) for the Sochi 2014 Olympic Closing Ceremony and Paralympic Opening Ceremony; he was video designer for the operas "La Traviata" (Mariinsky II Theatre 2015), "Carmen" (Teatro San Carlo 2015), "Love from Afar" (English National Opera 2009, Vlaamse Opera '10, Canadian Opera Company '12) and "Aida" (Mariinsky Theatre 2011, now theatre's repertoire, nominated to 4 Golden Mask), for Giuseppe Verdi's "Messa da Requiem" (Mariinsky Theatre 2012, now theatre's repertoire), for the theatrical shows "Donka - A Letter to Chekhov" (Company Finzi Pasca 2010, ongoing world tour), "La Verità" (Company Finzi Pasca 2013, ongoing world tour) and "Per Te" (Company Finzi Pasca 2016, ongoing world tour).

Generative Art

inventing new forms of moving pictures, procedural environments, custom shaders and particle systems, audio/visual performances, audio-reactive films, immersive installations, interactive light & sound installations

Video Design and Photography

video for theatre, opera and large events

  • If I had seen nothing but the stunning Act IV sequence on board the ship headed for Tripoli, where the work of the other designers is joined by eloquent projections from Roberto Vitalini, I would have been able to go home content from the visual splendour.

    Richard Ouzounian

    Theatre Critic
  • Saariaho's writing works best describing images like the ocean crossing, one of the most brilliant scenes in this production where light images are projected onto waving expanses of silk.

    Anne Ozorio

    Opera Critic Opera Today
  • From the opening moment where a shock of blue silk floats over the audience's heads to the stage we are in a kind of temporal limbo with psychedelic seascapes ultimately suggesting an eternal divide. What is so wonderful about Finzi Pasca’s work, assisted by Jean Rabasse (set), Kevin Pollard (costumes) and Roberto Vitalini (video), is that it opens up the poetic range of a score that has hitherto seemed overly static.

    Andrew Clarkco

    Opera Critic