Tod Machover’s newest collaborative symphony received its world premiere last Saturday evening at the finale of the 2014 Perth International Festival. Tod writes on his Facebook wall: “Symphony for Perth premiere went just great: large crowd with lots of young people, brilliant conducting by Carolyn Kuan, wonderful performance by WASO, lovely visuals by Peter Torpey of the MIT Media Lab, and a super-warm reception from the audience.”
“It succeeds because Machover is not only an imaginative composer; he is also an empathic collaborator and dreamer who is able to perceive that the process, in the growth of a city as much as the growth of an individual, is as important as the end result.”
Hyperscore composers with Tod Machover on the stage of the Perth Concert Hall
The Western Australia Symphony Orchestra under the baton of Carolyn Kuan was hard at work this morning polishing up Tod Machover’s brand-new “Symphony for Perth,” which premieres tonight at the finale of the 2014 Perth Festival. The much-anticipated work was featured in an extensive article published in today’s The Australian:
The ears of an outsider, particularly ones as attuned as Machover’s, can yield new interpretations of the familiar. One of the things that impressed him about Perth was a musical culture that was open to possibilities. “Perth is an interesting city where different groups of people intersect: an indie musician, an Aboriginal musician, a young person discovering music for the first time, someone playing the violin … There are so few preconceptions about the way things have to fit together.’’…
“I think that the ability to listen to the world, to hear the beauty, complexity and subtlety of what is already around us, will make each of our lives richer,’’ Machover says. “It is the way we can connect our imaginations with the outside world and communicate our deepest desires and dreams with others. I am trying to make a step in this direction with the process and the result of projects like a Symphony for Perth.’’
Vocal Vibrations. Le Laboratoire, Paris. Opens March 28. Free.
From the people who brought you inhalable chocolate, here comes a high-tech singalong. Visitors start in a chamber filled with ethereal music by the composer Tod Machover. When they wander into a private “cocoon” designed by Neri Oxman, they can sing while an electronic necklace measures vibrations in the larynx, getting instant feedback as the sonic aura adapts to the visitor’s voice and a grapefruit-size “orb” vibrates in the hands. The installation will feed into a larger investigation on the healing power of the human voice. When it travels to Cambridge, Mass., in the fall, a cartilage expert will ask whether skilled humming might improve the health of joints, a neuroscientist will try to match up vocal performance and brain measurements, and a Tibetan monk will attempt to engineer a better method of chanting.
Tod Machover is creating a symphony for Perth. Or, more precisely, a symphony with Perth. Between a Desert and the Deep Blue Sea, which will premiere on March 1, will be created from sounds recorded by Machover and Perth residents in and around the city, in the same manner as city-made symphonies in Edinburgh and Toronto. The Massachusetts Institute of Technology professor and his band of researchers have been collecting sounds and encouraging citizens to manipulate them via special apps, in preparation for a performance with the Western Australian Symphony Orchestra. It’s truly collaborative music – and hugely exciting.
Check out the full article for the audio and evocative photography by Tanya Voltchanskaya.
Congratulations to the cast, crew and incredible team that pulled off last night’s flawless opening night performance of the Dallas Opera’s production of “Death and the Powers”!! Much relief all around that the Operabots, moving walls and chandelier were all in splendid working order after three years in the warehouse.
Reviews are coming in! The Dallas Morning News’s morning-after review noted that the singers “get lines of remarkable naturalness, from speech-song to genuinely beautiful arias, duets and ensembles,” and said “it’s hard to imagine a finer performance, staged by Andrew Eggert and musically coordinated by conductor Nicole Paiement, with choreography by Karole Armitage. Both seen and video-processed, Robert Orth is a tour de force as Simon, his sinewy baritone faltering only in some low-ranging patches. Joélle Harvey and Patricia Risley sing radiantly as, respectively, Miranda and Evvy.” Continue reading →
Excellent PBS Newshour interviews with Dallas Opera general director and CEO Keith Cerny, Death and the Powers team members Ben Bloomberg and Peter Torpey, and composer Tod Machover. Cerny talks about why he wanted to bring “Death and the Powers” to the Winspear Opera House and produce the global simulcast.
I have embarked on a series of “city symphonies” with the idea of creating musical portraits of places, inviting the collaboration of the people who live there. Toronto (Toronto Symphony Orchestra) and Edinburgh (Edinburgh International Festival and the Royal Scottish National Orchestra) were the first two places – both works premiered in 2013 – and Between the Desert and the Deep Blue Sea: A Symphony for Perth (commissioned by the Perth International Arts Festival) is the third.
Building on concepts and techniques developed for the first two projects, I started my Perth investigations in September 2013, first by reading about the city and surroundings and discussing concepts with my colleagues at the Perth Festival, then by visiting in person. While in Perth for two weeks, I explored the city extensively (binaural recorder in hand), met people from all walks of life, listened to – and improvised with – a diverse range of musicians (from indie rockers to classical instrumentalists to laptop improvisors to didgeridoo masters and more), and supervised workshops throughout the greater Perth area with students from elementary to high school using our Hyperscore graphical composition software.
Patricia Risley, as Evvy, left, and Robert Orth as Simon Powers, pose a scene from Dallas Opera’s sci-fi “Death and the Powers” in Dallas, Wednesday, Feb. 5, 2014. Photo credit: Ron Heflin/Special Contributor
Perceptive article by Scott Cantrell in today’s Dallas Morning News. We hear that rehearsals are going well. Cannot wait to see the production next week at the spectacular Winspear Opera House. The role of Simon Powers will be sung by baritone Robert Orth, who is joined by leads Patricia Risley, Hal Cazelet and Joelle Harvey from the original Monaco production.
Keith Cerny, the Dallas Opera’s general director and CEO, first saw Death and the Powers three years ago, in a production by Chicago Opera Theater.
“I knew within about five minutes that I wanted to bring this piece to Dallas,” he says. “At its core, it’s an opera, sung by real opera singers, around which are wrapped the robots, these really beautiful and striking light displays, the onstage chandelier. To me, it’s a really beautiful and cohesive whole. And the climax of the piece is really moving.”