Distance Performances
Distance Performances
As part of a workshop for the Global Conservatoire, a live Jazz-trio performance was performed utilizing the ELK-technology. In Copenhagen, a guitarist (Jason Shooster) was playing along with a saxophone and double bass in Amsterdam.
As part of the EPARM-conference, the performance Shadow Flux was put together in close cooperation with the music department at the Fontys University of Applied Science, Tilburg.
At each location a woodwind quintet was playing together to form a 10-piece ensemble, while a dancing group was performing in Tilburg and a solo dancer (Marianna Minasova) was performing on stage in Copenhagen. For the production Ian Biscoe was creative lead and put together piece with Jesper Andersen at RDAM.
RDAM and Hochschule für Music und Teater shared a live organ concert with performers at each location. Simultaneously, the event was live-streamed for external audiences.
This event connected the Concord Brass Band in Copenhagen with the Riverside Brass Band in Durham, England. The performance was a part of the Durham Brass Brass Festival, who commissioned the piece from composer Jacob Vilhem Larsen.
This day, the accordion departments at RDAM, The Lithuanian Academy of Music Dance and Theatre and The Sibelius Academy teamed up and shared an online concert with audiences and musicians live at all three institutions.
For the celebration of the 150th anniversary of The Royal Danish Academy of Music a concert involving Distance Performances was created.
It involved a live-performance of a piano quintet with the pianist in Copenhagen and the strings in Milan. And also a live-performance of a Piazzolla-piece with violinist Astrid Mikaelyan in Copenhagen and guitarisk Alvarro Pierri in Vienna. The concert also involved a near-live broadcast of the sound of the streets og Shanghai, simeulateously connecting Vienna, Shanghai and Copenhagen.
A music/dance performance created by Jana Bitterova, connecting four sites – Copenhagen, London, Miami and Barcelona.
The project was conceived as a real-time film: low latency av streams from each of the four locations were sent to a live mixing station in Copenhagen where the streams were composed and transitioned in real-time, then fed to an adjacent studio where the audience were seated in front of a large projection screen.
The performers in Copenhagen (on the roof garden of the Royal Danish Academy of Music), Barcelona (in a building adjacent to and overlooking MACBA) and Miami (on the roof of the New World Symphony in Miami Beach with views to the ocean) each explored – to a loose choreography – the similarities of their environments.
Longing for the Impossible comprised 5 contemporary compositions which featured a different mix of musicians and dancers in Copenhagen, Barcelona and London. A visual theme of orbiting spheres (inspired by the atomic model of Danish physicist Niels Bohr) was used to create a networked performance dramaturgy in which the performers – regardless of physical location – were all elements of the same performance space as experienced by the audience.
The performance connected London, Barcelona and Copenhagen.
http://studiobiscoe.com/work/
The Infinite Bridge was a multi-disciplinary live performance project connecting artists and creative professionals across cultures and practices. The performance featured live link-ups with dancers at the MACBA contemporary arts museum of Barcelona, traditional Nordic instrumentalists at the Sibelius Academy in Helsinki and a horn player in the Royal Danish Academy of Music in Copenhagen.
https://obsolete.studio/portfolio/the-infinite-bridge/
As part of the World Expo 2015 in Milan, RDAM teamed up with the Conservatorio de Musica Guiseppe Verdi Milano to create a live Distance Performance. This was a Copenhagen-trio with Guzheng, Pipa and Viola playing an improvisation over Chinese folk Copenhagen, while being live-processed from stage in Milan. The live-processed signal was fed back to Copenhagen, which enabled a live interaction and improvisation over the distance.
Production manager in Copenhagen was Thomas Solak and in Milan it was Giovanno Cospito. Live-processing was carried out by Enrico Pietrocola.
This was a cooperation with The Royal College of Music, London, where we connected the church music departments at both schools and shared a Christmas Carol Singalong with choir and audiences singing at both ends.
