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The Sydney Symphony orchestra made its debut
performance at the Sydney SuperDome in spectacular style. They played popular
and robust pieces including the first ever fully staged performance of Tchaikovsky's
1812 Overture, the score from Star Wars, the Triumphal March for Aida, and Strauss'
tone poem used as the theme for 2001, A Space Odyssey. Music from Carmen, LaBoheme
and Turandot are also included in the programme.
In an attempt to break away from the stuffiness
often associated with classical music performance, promoters Creation Entertainment
and producers Accolade Events incorporated a massive lighting system, lasers
and an immense PIGI projection into the show.
The production was a careful combination
of three elements - moving lights, generic lights and projection. Lighting designer
Brad Gander was told that a rock'n'roll type rig was required and then the design
was left to him.
The lighting rig was dominated by fixtures
with 24 x MAC500, 46 x MAC600, 16 x MAC2000, 6 x MAC2000 Performance and 14
x Pro400 for truss warmers. Added to that were about 420 par cans of various
sizes and lamps.
The Mac2000 Performances are placed on the
floor to project onto three diagonal panels that are the main feature of the
lighting rig. Rimming the panels are the 24 x MAC 500 and twelve of the MAC600.
The panels are hung directly above the orchestra and the MAC2000 Performances
project a variety of effects such flames, water, squares and clouds onto them.
Brad was particularly pleased with their contribution to the show.
"We were a bit worried the orchestra might
stress out with the fan noise from the MACs but their feedback has been fine.
The MAC2000s have been sensational. The MAC2000 Performance is a really good
unit. The optics and effects are great you can get some really nice effects."
Eight CityColors are used to colour wash
the projection screen when there are no images on it.
 
Chameleon Touring Systems provided the lighting,
in particular two grandMA control desks. Michael 'Simmo' Simpson used the main
grandMA for the moving lights whilst Brad, who designed the show, used the other
grandMA for the analogue fixtures. The production offered the opportunity to
demonstrate how one desk can be set up in two totally different ways.
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