![]() ![]() Now I understand why I was advised to sit on a chair without a backrest. Supported by FilmFernsehFonds Bayern, Land Sachsen-Anhalt, nordmedia – Film- und Mediengesellschaft, Niedersachsen/Bremen mbH Shot with the Omnicam 360° camera developed by Fraunhofer Heinrich-Hertz-Institut, BerlinĪ co-production of PARS Media with WDR/Arte Concert, Arthaus Musik, Neue Horizonte, Fraunhofer Heinrich-Hertz-Institut, Oper Leipzig Technical coordination: Christian Weissig I would bet this is the way God listens to the world.” A composer can summarise them all – and yet still make you hear each and every individual thought of thread. What Mozart so wonderfully manages in this very ensemble, is beautifully summed up by Peter Shaffer’s Amadeus who let his Mozart proclaim the following: “Would a playwright want to portray this very moment, he would need to recount each and everyone of his thoughts, one by one, on paper. Mozart relentlessly masters to heat up his scenes and situations, they are full of humour and profound knowledge of the deepest human abyss while highly charged with a type of sitcom which is more contemporary and fresh as ever. The walls thus build a labyrinth which mirrors the ingenious architecture of Mozart’s finale. The doors enable the camera to show two types of settings, simultaneously, later even three: one for Cherubino, one for Susanna, one for Rosina (this type of angle only the 360° camera can achieve). The room changes according to the momentary moods and scene changes: once we find ourselves in a narrow alley, once in a spacious salon. An assembly of doors surround them, original interior doors as well as doors which were specifically constructed for the purpose of moving and adjusting them with the help of wheeled walls. The set: contemporary dressed young people within a classical interior. A contrite Almaviva begs his wife’s forgiveness for having been untrusting and suspecting. She almost confesses while he attempts to blow up the door – which magically opens and Susanna, elegantly pretending to be utterly surprised, leave Rosina and Almaviva equally exposed and astonished. Almaviva urges his wife to tell him the truth. So by the time Rosina and Almaviva return, Susanna has taken Cherubino’s spot in the dressing room. An instant after they are gone, Susanna reappears, rescues the unhappy Cherubino who out of lack of escape possibilities, jumps off the window. He hurries to fetch some tools and forces his wife to accompany him, then cleverly locks all doors. When Cherubino – a bundle of nerves – clumsily knocks over a chair, Almaviva is alarmed out of jealousy and decides to break the dressing room door. In a hurry they try to hide Cherubino in the dressing room, Susanna rushes to leave the room, Rosina remains alone and Almaviva enters. But then there’s a knock on the door – it’s Rosina’s husband. Sparks begin to ignite between the boy and Rosina. We set in to the story with the erotically charged scene in which Rosina and Susanna decide to dress up the young teenager Cherubino – played by a woman – as a girl and are in awe and smitten by the result of his androgynous beauty. The viewer is placed right in the centre of the performance which is staged exclusively for him. Instead of having a conventional centrifugal angle like in an arena, our point of view is a centripetal one. A series of scenes – coherent in itself – has been shot from the beginning of Act II of Mozart’s Le nozze di Figaro. "360° Figaro" is a music film shot in virtual reality: an opera scene, for the first time conceived and staged exclusively for this new medium, live performed both vocally and instrumentally, recorded by a binaural sound recording technique. Gazing at the sun can be beautiful but what would it be like to actually see it from inside? The 360° camera promises such a peek. "At once the theatre transforms itself into a sun", a stage direction by Mozart reads. Mozart: Le nozze di Figaro, Act II, Scenes 13-16 (This clip is just a simulation for a conventional screen.) ![]()
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