Live-tweeter for an opera, placing screens on the stage, develop applications to consult before, during and after a show … The ideas are sometimes materialize, but often divide the public.
On the one hand, there are those who prefer to enjoy classical music as an art spared by new technologies. On the other, those who would like the concerts evolve and classical music fits in our time.
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“I have always said that music is a fundamental human right, and that use technology helps us to fulfill this mission with more force. “ This phrase comes from the mouth of one of the conductors most prominent of our time, the Venezuelan Gustavo Dudamel.
The mission therefore is to make classical music accessible to all with the help of new technologies. This is what already are a number of theaters, concert halls and opera … In the United States, the most advanced on this issue, have launched many projects in recent years, since some have materialized.
The former director of the Opera San Diego , William Stensrud , wants to revolutionize the world of classic, short for it at its loss by refusing to move with the times. Desperate by the pessimism in his opera about the future of classical music, he left the opera in 2009, and launched his project: InstantEncore
William Stensrud wants to go further: “It will soon be subtitles, with, measure by measure, the music score. “ This last option is the one that poses the greatest problem for the supporters because of antis-technology requires the use of Smartphone during the show or opera.
The seats reserved for twittos
The idea to consult your phone in a room dedicated to classical music is one of the most sensitive points of the debate. Yet last idea launched in a few large institutions operating on this principle. Seats reserved for tweeter
In exchange for a free ticket to watch a play, a concert or an opera, the viewer must live-tweet the evening. One way to make the promotion more or less large scale. And as these are installed on twittos special seats, they do not interfere with the general public. In France, the Strasbourg National Theatre had shown interest and comic opera held a first live-tweet evening of November 13 for opening season.
Other ideas, sometimes materialized ( Santa Fe in particular), we also find the listing of subtitles on the back of the seat in front from you. This will not bend his neck to follow an opera, or simply to access subtitles, since according to the places, the viewer does not always see the screen placed on top or sides of the scene
The Van Beethoven
Another initiative that comes from the United States. Van Beethoven. A truckload of bringing classical music to all the people of Los Angeles that have no access to ordinary. Just enter in a van, to properly install and put on eyes for a Oculus Rift (a tool that allows you to see virtual reality).
The device connects to a application launched by the Los Angeles Philharmonic Orchestra and allows the visitor to see a concert, but also see behind the musicians, closely observe the gestures of the conductor … The sound changes depending the image so if the tester in the van decides to get behind the drums, he will no longer hear much …
In this same idea, there are many concerts (and this time there are in France), offering to be seen from different angles using a multi-camera system. Then just log in and change the viewing angles to enjoy video (and sound!). The Insula Orchestra and chamber choir Accentus, under the baton of Laurence Equilbey , were able to test this technology during the last year a concert at the Philharmonie de Paris . The evening was broadcast on Medici.Tv but the curious might also enjoy the concert on the web, and live the experience differently through different angles.
Finally, one last point divides skeptics Digital: the sound of concerts. “Young people do not like classical concert halls … They would not go unless the music is amplified. “ The words of British composer Jonathan Harvey , 71, calling for more modernity in the halls, it may be the sound of it.
background music for orchestras, yes, but not anyhow, anywhere, especially not with any music. The young chef Maxime Pascal (winner of the Salzburg Prize in 2013), like sound to a whole The Balcony , and for good reason: “Some partitions contain sometimes interpretive gestures that belong to unknown technical at the time of their writing. This is the case for the Italian composer Salvatore Sciarrino, whose music sounds much better if it is wired for sound. “
The actors of all these ideas and all these projects do not appear only fun gadgets and technologies could be their main objective want to “save” classical music, ie interested audiences who do not usually take an interest in classic, break the codes and make accessible a world they admire and respect.