Stravinsky’s Rite of Spring – 3D Performance

Thursday 21 April 2011 at 6.30pm

Symphony Hall, Birmingham +44 (0)121-780 3333

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

Varèse:  Tuning Up (sketch, completed by Chou Wen-Chung)

Ligeti: Lontano

Stravinsky: The Rite of Spring

Any live performance of Stravinsky’s infamous Rite of Spring is a mind-blowing experience – the music alone is brim-full of raw emotion and ritualistic frenzy. Tonight, experience an astonishing interplay between reality and fantasy, as dancer Julia Mach’s live performance interacts with real-time computer-generated stereoscopic projections, translated into virtual reality with the aid of 3D spectacles for the audience. Digital wizardry meets the primeval world of Stravinsky’s ballet score! www.cbso.co.uk

http://riteofspring3d.thsh.co.uk/

Blog posts / review by Zyls:

http://zylszevo.wordpress.com/2011/04/21/stravinskys-rite-of-spring-in-3d-the-symphony-hall-birmingham-thursday-21-april-2011/

http://zylszevo.wordpress.com/2011/04/22/review-of-stravinskys-rite-of-spring-in-3d-the-symphony-hall-birmingham-thursday-21-april-2011/

…     “Tonight’s performance was very, very clever – the technology, commitment and work put into creating such a feast was impressive – the CBSO are truly world class, the dancer incredible and the capability of the technology – a brave mix of classical music, art and dance – hugely inspiring.”     …

Review by Roger Clarke, BehindtheArras:

http://behindthearras.com/perform.html#window

“ANY visit to a theatre or concert is an experience but this is a theatrical experience that really means it. I defy anyone to leave at the end unscathed. Once in your mind you will never forget it.   […]

[…]  This takes 3D into whole new realms though, way beyond the fun and novelty stages. This 3D is a thing of art and beauty, of disturbing images, of despair and darkness, light and hope.Emotions and fears distilled on an electronic matrix.

It is astounding, fascinating, enthralling, stunning stuff – a new art form has been discovered. Classical music and ballet meets virtual reality.”     …

Review by Andrew Clements, Guardian:

http://www.guardian.co.uk/music/2011/apr/22/rite-spring-3d-review

…     “It is the account of the music, though, that proves to be the show’s saving grace. It is quite superbly played by the City of Birmingham Symphony Orchestra under Ilan Volkov, and their hour-long programme begins – thankfully without glasses or choreography – with two more 20th-century classics. ”      …

Review by Christopher Morley, Birmingham Post:

http://www.birminghampost.net/life-leisure-birmingham-guide/birmingham-culture/theatre-in-birmingham/2011/04/25/review-the-rite-of-spring-cbso-and-julia-mach-at-symphony-hall-birmingham-65233-28580263/

…     “This extraordinary presentation of Stravinsky’s Rite of Spring was a total triumph, from the confident orchestral opening by the CBSO under the clear direction of Ilan Volkov (what fabulous delivery by Gretha Tuls of that notorious high bassoon solo!), through the mesmerically controlled movements of dancer Julia Mach, and the brilliant realisation of his own choreography by the concept-designer and artistic director Klaus Obermaier.”     …

Review by Geoff Read, MusicWeb:

http://www.seenandheard-international.com/2011/04/26/stravinskys-rite-of-spring-3d-performance-plus-varese-and-ligeti/

…     “The swaying sensations of Spring Rounds were emphasised by the visions of Obermaier: the compulsive rhythm was synchronised to an undulating floor. Mach reminded me of a gymnast trying to keep her balance on a trampoline bed that’s been given a life of its own. This particular effect together with the computer enhancement as the dancer arms become elongated may be seen on www.riteofspring3d.thsh.co.uk. Weird enough in two dimensions, the addition of the third made it even more mind-boggling. It was a magic carpet-ride on which Volkov wound up the CBSO strings and brass players to engage in the lethal blitz that followed, strains of Stravinsky that foreshadowed World War I. The flying 3D shapes returned, penetrating missiles akin to a game of paintballing, such was the suggestive power of Obermaier. I emerged unscathed from the battering.”     …

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