Despite the plenitude – some might say surfeit – of 3D films gracing the cinemas in the last year or so, its use in orchestral concerts and ballet performances is still rare enough to generate a deal of interest. Of course, the fusing of live orchestral music with recorded video is not new, whether it be performances of film scores (e.g. the Philharmonia’s concert of the complete music to 2001 – A Space Odyssey earlier this month) or the multimedia collaborations of Steve Reich and Beryl Korot; likewise, the real-time manipulation of visual imagery in response to music has become mainstream on both the opera stage and in the concert hall. Of course, the melding of orchestral sound and digital imagery may be used to superb effect (e.g. in last year’s ENO/Complicite A Dog’s Life) but also such poor effect that it distracts from or diminishes the music (of which I will refrain from raking up examples)… [read more here]

Programme

Varèse: Tuning Up (sketch, completed by Chou Wen-chung)
Ligeti: Lontano
Stravinsky: The Rite of Spring

Performers

City of Birmingham Symphony Orchestra, Ilan Volkov (conductor)
Julia Mach (dancer), Klaus Obermaier (concept, artistic direction, choreography), Ars Electronica Futurelab (interactive design, technical development), Alois Hummer (sound design), Wolfgang Friedlinger (lighting design)

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