Citings & Sightings of Dante's Works in Contemporary Culture
“Baliani has adapted Purgatorio, the second part of Dante’s Divine Comedy for the stage.” […]
“See this Rogue production, directed by Joseph McGrath, and you’d wonder why it hasn’t been done before (we could not find references to any other stage adaptations). It was completely engrossing.” –Kathy Allen, “Review: The Rogue’s ‘Dante’s Purgatorio‘: Sins and shades shape an engrossing climb,” Arizona Daily Star, May 01, 2014
See also Sherrilyn Forrester’s review in Tucson Weekly, May 01, 2014.
Irena Lisiewicz, a professional artist and costume and set designer, created a project entitled Purgatorio Image Theatre (2009-2013), inspired by Dante Alighieri’s The Divine Comedy. To learn more about Lisiewicz and her works, view her LinkedIn profile, a Slideshare of her project Purgatorio Image Theatre, and a Picasa Web Album of her artwork.
In 1999, Nuages Gallery in Milan published these three illustrated editions of Inferno, Purgatorio, and Paradiso. See Nuages to learn more about the illustrators (Lorenzo Mattotti, Milton Glaser, and Moebius) and the project as a whole.
This how-to book, published in 2010, was written as a guide for managers and entrepreneurs to navigating the business world. Through the sections Inferno, Purgatorio, and Paradiso, Enrico Cerni creates a book-long metaphor using the famous characters and sites from Dante’s Divine Comedy.
See Dante for Life for more information.
“Musea’s collaboration with Finnish Colossus Society has been fruitful in these last years, and the newest release is the most ambitious so far: a 4 cd set, with a comprehensive booklet, featuring 34 bands to address the 34 cantos of the “Inferno” part of the legendary 14th century epic poem ‘The Divine Comedy’ by Dante Alighieri (Purgatory and Paradise will be the concept of future releases, in order to complete the trilogy).
With such an amount of bands coming from different grounds within the progressive aesthetics, it is only natural that the conducting line is only maintained by the story and by the usage of vintage instruments (moog, mellotron, etc) which are common to all the guest bands. In part, and besides the fact that this approach secures a wide array of styles and different musical perspectives, it is also true that it makes the album not being as cohesive and focused as the Epic Poem that muses it would deserve. But hey! There are 4hours+ of pure “regressive” symphonic rock to fully enjoy!” –Nuno, Proggnosis
