Invisible Cities: The Finale | KCET
Invisible Cities: The Finale
What does it take to stage a "headphone" opera at Union Station? Over the last few weeks, Artbound's cameras and contributors have provided behind-the-scenes features examining the production components of innovative work "Invisible Cities." From an audio essay by composer Chris Cerrone detailing his inspiration for the opera, to a close-look at the wireless technology utilized by sound engineer Martin Gimenez, and a glimpse at the choreography created by Danielle Agami, here's a roundup with our five featurettes.
The possibilities opened up by wireless headphones are endless. The use of wireless technology in "Invisible Cities" creates a new operatic experience -- and maybe even expands the definition of opera.
The sound designer behind "Invisible Cities" explains the challenges of getting wireless technology to deliver the extraordinary sonic experience that befits the unconventional opera.
In composing the music for "Invisible Cities," Christopher Cerrone created many levels of orchestral detail that would evoke the elaborate and fantastical places that Calvino imagines.
Dancers in "Invisible Cities" execute an array of moves in Union Station that range from rigorous solos to improvisational and hip-hop-like explosions, to glacially slow stances.
Union Station is an ideal place to realize the opera "Invisible Cities," an adaptation of Italo Calvino's book about relationships between built environments and social and economic life.
In his long-running photo series, “Chicano Male Unbonded," photographer Harry Gamboa Jr. meant to counteract all the negative stereotypes that stem from the word "Chicano." Meet a few of his past subjects.
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