Italy - The Bride of the Zar, directed by Dmitri Rcherniakov, has developed different narrative plots on Teatro alla Scala's stage. Beside the music masterfully conducted by Daniel Barenboim and the ability of the singers, another protagonist of this opera layout has been for sure the use of technology.

The scenic organization set on a turntable allows the spectator to see different points of view and along with the music and the dramaturgy, is characterized and enriched from the first act to the very last one by projections implemented by Meeting Project srl, using Hippotizer media servers, the world's best solution for real-time media playback.

This work has been conducted my Meeting Project srl, technical sponsor of Teatro alla Scala of Milan. The technical skills of Fabio Fraomene and Marco Piva met all the requirements of the director, who wanted to add meaning to the opera through a series of projected content.

The desired result has been successfully achieved: the constant use of imagery shows how the crowd's consciences are manipulated, which brings the creation first of a Zar, and secondly of a bride for him.

Meeting Project srl provided and chose two Hippotizer HD Media Servers ( the master and a back-up), where the outputs were connected to an Extron DVI Matrix. For the frontal projection a Panasonic PT-DZ21K projector was used, and on the turntable a Vidiwall was assembled, composed of 16 Samsung monitors connected to Datapath X4 cards.

A Camera Sony Z1, on stage, was connected to composite video, the signal was then converted in HSDI and sent to the Media Server's acquisition cards, and broadcasted live on the Vidiwall. The performance was directed through a GrandMa1 full size console with its back up computer, and through another one with Hippotizer's Zookeeper Software to manage and display the media server's parameters remotely.

It has been easy to display and realize some "masks" on the turning wall using the Hippotizer. The optical fibre has been used for the transmission of video, artnet and network signals, while then monitors within the turning scenography were connected using Cat 6 cables and Lightware converters.

(Jim Evans)

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