Fidelio, 21. Century

Fidelio, 21. Jahrhundert: Szenerie Quartett
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Fidelio, 21. Jahrhundert: Florestan draft
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Fidelio, 21. Jahrhundert: Florestan breathing
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Fidelio, 21. Jahrhundert: Florestan model
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Fidelio, 21. Jahrhundert: Florestan, vision
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Fidelio, 21. Jahrhundert: Florestan from above
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Fidelio, 21. Jahrhundert: Florestan from the side
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Fidelio, 21. Jahrhundert: Florestan, Epicycles from above
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Fidelio, 21. Jahrhundert: Florestan
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Fidelio, 21. Jahrhundert: Florestan, Epicycles
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Fidelio, 21. Jahrhundert: Florestan, Epicycles from above
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Fidelio, 21. Jahrhundert: Pizarro, draft
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Fidelio, 21. Jahrhundert: Pizarro
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Fidelio, 21. Jahrhundert: Pizarro from above
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Fidelio, 21. Jahrhundert: Pizarro model
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Fidelio, 21. Jahrhundert: Pizarro Introduction
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Fidelio, 21. Jahrhundert: Pizarro Quartett
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Fidelio, 21. Jahrhundert: Leonore
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Fidelio, 21. Jahrhundert: Leonore from the side
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Fidelio, 21. Jahrhundert: Szenerie Quartett
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Fidelio, 21. Jahrhundert: Szenerie Duett
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Fidelio, 21. Jahrhundert: Stage during performance
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Fidelio, 21. Jahrhundert: ground plan of the stage
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Fidelio, 21. Jahrhundert: stage during performance
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Fidelio, 21. Jahrhundert: draft for Rocco
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Fidelio, 21. Jahrhundert: model Rocco
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Fidelio, 21. Jahrhundert: Rocco Reprise
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Fidelio, 21. Jahrhundert: Rocco Quartett
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Fidelio, 21. Jahrhundert: Rocco
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Fidelio, 21. Jahrhundert: Rocco exit
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Fidelio, 21. Jahrhundert: Rocco entry
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Fidelio, 21. Jahrhundert: Leonore quartett
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Fidelio, 21. Jahrhundert: model Leonore
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Fidelio, 21. Jahrhundert: Leonore from above
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Fidelio, 21. Jahrhundert: Leonore quartett
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Fidelio, 21. Jahrhundert: Pizarro Introduction
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Adaptation of the opera "Fidelio" (1814) by Beethoven

"Fidelio, 21st century" [...] is the first classical to be performed interactively in a three-dimensional virtual reality [...]. On one side of the cellar computer equipment whirs, and the 20-minute extract from the prison scene of Act II - the full extent of this "Fidelio" performance so far - is under way. To gain the full 3-D effect, the audience is asked to don special glasses. [...] The music, from the 1978 recording by the Vienna Philharmonic under Leonard Bernstein, pours out of 18 loudspeakers ranged around the auditorium. [...]
What makes this electronic production unique are the four devices positioned on the floor, each one representing the four characters: Florestan, Rocco, Leonore and Don Pizarro. As each character sings and the on-screen images move, the computer programme lights them up in turn. This is an indication to the audience that they are free to touch them and, depending on the way their hands move over the surface, direct that particular character´s mouvements on screen.

source: Robert Nurden "Into the light", from: journal "Opera Now",
march/april 2005, p. 6-8.