Alessandro Sanquirico

His set designs were prepared for Donizetti's works at La Scala, and these included Anna Bolena when it appeared there, Ugo, conte di Parigi and L'elisir d'amore, both in 1832, and the premiere of Lucrezia Borgia in 1833.

He worked with Andrea Appiani and Bargigli in the design of the Arena Civica of Milan and provided the scenography for ballets by Salvatore Viganò.

[1] Sheren concludes by noting that "one reason for Saquirico's international influence was the portfolios of hand-coloured engravings based on his theatrical and architectural drawings were published and extensively circulated and copied.

Another noted aspect of his work was that stage lighting, initially oil and Argand lamps, worked well with "his balance of contrasts and colours", but they helped create the "moods suggested in the librettos of many operas [including] overwhelming panic at the impending destruction of Pompei in Pacini's L'ultimo giorno di Pompei for Naples in 1825" and for La Scala in 1826.

[1] On a broader scale on the advancement of operatic styles, Baker suggests that the spectacular set for L'ultimo giorno "played a significant role in the establishment of grand opera in Paris.