In Wednesday’s (7/24) Independent (Great Britain), Jessica Duchen writes, “The classical-music climate is currently buzzing with innovative presentation: take the cross-genre commissions of the Manchester International Festival, the Southbank Centre’s hugely successful 20th-century celebration The Rest is Noise, the craze for cinema relays of live performances, or the growing trend for classical club nights and concerts in concrete car parks. Even so, the technological twists of the Bristol Proms suggest that they’ll be going further still.… One key player behind the series is Tom Morris, the artistic director of the Bristol Old Vic.… He says he has always been interested in what might happen ‘if theatre and classical music were to explore the collaborative potential that exists between them.’ … Max Hole [is] the other key player behind the event and chairman and CEO of Universal Music Group International.… He has thrown Universal’s weight behind the Bristol Proms, ‘a festival that marries world-class classical musicians with a digital environment in a way that might draw a new audience in.’ ” Bristol Proms concerts include cutting-edge use of technology, immersive 3-D visuals, and scientific visualizations that show the movement of atoms around violinist Nicola Benedetti.”
Posted July 25, 2013
