Orlando
I never saw Maria Callas perform, regrettably. La Divina died in 1977, but the legendary soprano is now climbing back on stage performing live - but not alive - thanks to new, state-of-the-art hologram technology.
“Callas in Concert” is undoubtedly boiling the blood of purists, knee-jerk contrarians and habitual cynics, as with so many things these days. And maybe their reactions to this “Help me Obi-Wan Kenobi” imagineering are warranted. After all, this essay comes to you from the shadows of Disney World.
“Callas” performs some of her legendary arias, such as Habañera” from Bizet’s “Carmen” in the production, as well as rarer pieces from the repertoire. A live orchestra accompanies the hologram, which uses high-quality recordings stripped of the existing background music to accommodate the live orchestration.
Somehow, a body double works with the director to choreograph the movements, integrating digital, laser and CGI technology. Yes, it’s a pretty stunning idea. It’s no wonder that the orchestra conductor Eímear Noone is well versed in synchronizing music to film.
The production finished a U.S. trial run - including a stop in Worcester, that cradle of Western opera - and opens now on some of the European stages La Divina graced many years ago.
Here’s yet another way in which our world is turning on its head, and I welcome it. Nothing could compare to experiencing a Maria Callas performance in person, of course. But here’s a singular teaching tool with the potential, for example, to introduce young people to opera. And here’s an interesting technological and cultural platform for examining and even shaping our science-fiction future, for better and for worse. Why not? Change is inevitable. It’s up to us how we choose to deal with it.
I never saw Maria Callas perform, regrettably. La Divina died in 1977, but the legendary soprano is now climbing back on stage performing live - but not alive - thanks to new, state-of-the-art hologram technology.
“Callas in Concert” is undoubtedly boiling the blood of purists, knee-jerk contrarians and habitual cynics, as with so many things these days. And maybe their reactions to this “Help me Obi-Wan Kenobi” imagineering are warranted. After all, this essay comes to you from the shadows of Disney World.
“Callas” performs some of her legendary arias, such as Habañera” from Bizet’s “Carmen” in the production, as well as rarer pieces from the repertoire. A live orchestra accompanies the hologram, which uses high-quality recordings stripped of the existing background music to accommodate the live orchestration.
Somehow, a body double works with the director to choreograph the movements, integrating digital, laser and CGI technology. Yes, it’s a pretty stunning idea. It’s no wonder that the orchestra conductor Eímear Noone is well versed in synchronizing music to film.
The production finished a U.S. trial run - including a stop in Worcester, that cradle of Western opera - and opens now on some of the European stages La Divina graced many years ago.
Here’s yet another way in which our world is turning on its head, and I welcome it. Nothing could compare to experiencing a Maria Callas performance in person, of course. But here’s a singular teaching tool with the potential, for example, to introduce young people to opera. And here’s an interesting technological and cultural platform for examining and even shaping our science-fiction future, for better and for worse. Why not? Change is inevitable. It’s up to us how we choose to deal with it.
Image courtesy of Base Hologram