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Le Mondial SAQ 2002
Montréal International Fireworks Competition Report

Italy Aquarius July 21st, 2002

Pirotecnia Soldi S.R.L. Artistic director Sergio Soldi, traditional electrical firing

'Pirotecnia Soldi's earliest documents date back to 1869. Their display will be original pieces, carefully handcrafted following Italian traditions dating back more than a century. "This uniqueness allows us to produce original and individual displays composed of numerous items designed differently for each particular occasion", say Sergio and Fulvio Soldi, heirs of the long tradition'

After the torrential downpour earlier in the week, perfect conditions prevailed for this return of the Italian team who'd had such bad luck with the weather in the past. With all the fireworks specially constructed for the display, it promised to be an evening to remember.

Part 1 to the music Aquarius from the Hair soundtrack. The display began with shells in half red and half green comets with a front of mines below. Then shells of silver comets followed by barrages of large shells of comets with blue star pistils. These were followed by crossed charcoal comet candles with blue star candles in between. Above these, shells of blue stars with titanium-laced burst charges. As the candles below continued, more blue star shells with titanium bursts. Next, crossed glitter comet candles with colour comet shells above. These were followed by large multibreak shell-of-shells and sky-mine shells. More and more multibreak shell-of-shells brought the segment to a close with barrages of salutes as well.

Part 2 to the music Soul Vibrations by J Walk. A line of orange-sparked fountains in X shapes lit up along the floating ramp. Then the same in white. Above these, red star shells with a couple of strobe pots in the centre below. Then fans of foutains in three pairs per fan, with a whole line of these along the floating ramp. Above these, shells of comets and strobe stars. Next, more fountain set pieces shaped like a backwards L at the left, an L at the right and an upside-down T on the top - with these replicated along the floating ramp. Above these, shells of bright orange photoflash, and more of the titanium-laced blue shells. The orange photoflash shells continued with another line of fountains below followed by shells of comets turning to strobes. These were followed by mines and multibreak shell-of-shells above, more mines and then shells of colour comets turning to strobes. These were then followed by shells of gold glitter comets with silver starfish comets in, a barrage of these bringing the segment to a close.

Part 3 to the music Let the sunshine in from the Hair soundtrack. A front of mines with stars turning to strobes was followed by star candles in the centre and gold glitter comet candles at the left and right. Then another front of mines with stars turning to strobes and candles aimed horizontally over the lake firing silver comets which skipped across the surface of the water. As these continued, fans of comets were fired from the centre. These were followed by more mine fronts and then multibreak shell-of-shells in gold glitter with tourbillon and star candles below. More mine fronts and multibreak shell-of-shells above and nautic shells bursting out of the lake. This theme continued, the pace increasing with more nautic shells and multibreaks, bringing the segment to a close.

Part 4 to the music Un bel di by Aria. The lake became filled with nautic flares in red as the music became more serene. A line of silver fountains pointing horizontally over the lake opened up as the nautic flares turned into silver fountains. Then a flight of double ascension silver girandolas lifted slowly and majestically into the air. Blue cluster star candles opened up as more flights of girandolas rose into the air, started to fall and then rose up again. The line of silver fountains continued as more girandolas rose up. Then candles of thick crossed silver comets with silver comet shells above. These were followed by brighter crossed thick silver comet candles and more silver comet shells above. Next, huge shells of silver and blue and then blue with gold glitter comets. This theme continued with more and more silver and gold glitter shells and gold glitter and blue shells bringing the segment to a close.

Part 5 to the music Sanza by Cirque du Soleil. The music pace changed and then shells of fabulous charcoal serpents burst into the sky, filling the air with eccentrically spinning and hissing serpents. Barrage after barrage of these was fired, then orange comet shells and then back to the charcoal serpents. These were then replaced by the same, but in silver and augmented by blue sky-mines and more colour comet shells. Next, shells of rings of tourbillons with blue pistils and more of the silver serpents. A line of strobe pots lit up below as more of the silver serpent shells continued above. Then shells of salutes and more sky-mines, the segment coming to a close with shells of serpents, sky-mines and yellow-headed comets.

Part 6 to the music Straight to the Heart by Sina Vadjani. This segment began with two large ring set-pieces in red-flamed silver fountains. Then meteor comet candles straight up at the left and right and in a V in the centre. Next, a line of silver fountains and then a line of fountains in the shape of starfish. These were followed by mines and shells of crackling charcoal comets and then a line of strobe-pots along the floating ramp at one side. The crackling charcoal comet shells continued and were augmented by the same in candles and mines bringing the segment to a close.

Part 7 to the music Onon Mweng by Olivier Shanti. This segment opened with pastel star and whistling candles. Then candles of red-headed meteor silver comets with shells of rings of tourbillons and blue pistils above. Next, multibreak shell-of-shells with tourbillon candles below with star candles and more multibreak shell-of-shells above and ring tourbillon with blue pistil shells. Fronts of mines were followed by nautic shells in the lake with sky-mine shells above and whistling candles below. More mines were followed by gold kamuro shells, trailing to the lake and then more mines and nautic shells. A return to barrages of gold kamuros, bombette mines and more nautic shells. These were followed by larger gold kamuros, with some of the stars ending in strobes as nautic fountains lit up on the lake, the segment coming to a close with a large barrage of gold kamuros trailing all the way to the lake, to cheers from the audience.

Part 8 to the music Tout est bleu by Ame Strong. This segment began with blue cluster star candles with shells of blue stars above. Then shells of gold glitter comets. These were followed by shells of deeper gold glitter comets turning to deep gold strobes and followed by more blue star shells. Next, barrages of large shells of blue stars and gold comets. These were followed by barrage after barrage of multibreak shell-of-shells in blue and blue sky-mines. Then shells of charcoal comets followed by a return to barrages of multibreak shell-of-shells in blue. This theme continued, the segment coming to a close with large volleys of blue multibreak shell-of-shells.

Part 9 to the music Alone by The Amalgamation of Sound. Two strobe-pots lit up in the centre. Then fans of firefly comets from the centre of the control room - which lead to a small fire in some bushes at the side of the display area. Above these firefly comets, shells of strobe stars. These were followed by barrage after barrage of the bright orange photoflash shells, this segment consisting of mainly this theme, save for the end when there were strobe shells above the photoflash shells.

Part 10 to the music Calma by Nova Fronteira. Some technical problems lead to a period of darkness. Then fans of candles in blue and green clusters followed by two fountains in Vs as the music moved seamlessly to:

Part 11 to the music Close Cover by Wim Mertens. Two silver fountains in Vs fired up as a line of bright red flares lit up the back of the display area in this very serene segment. A circle of V-shaped fountains lit up on the top of the control room and then a line of candles firing glittery charcoal and aluminium comets which turned over like a wave and fell to the lake. These were followed by huge gold glitter comet shells with pistils, with barrage after barrage of these. Next, crossette comet candles with the same in shells as well as titanium salutes as the music became less serene. This theme continued and then returned to the gold glitter comet shells with pistils and shells of gold glitter with blue pistils. The segment came to a close with barrages of these large glitter comet and pistil shells.

Part 12 to the music Fable by Robert Miles. This techno music segment began with dazzling white star fans. Above these, bright yellow-headed meteor comet shells with dazzling silver candles below. Then red-headed meteor comet shells, with barrage after barrage. These barrages continued with shells of gold glitter comets with pistils at a high level and salutes below these. As the pace increased, just barrages of salutes were rhythmically fired with an alternating sequence of salute barrages, comet shells, then salutes and then a huge barrage of salutes. The music pace slackened off from this faux finale and moved into

Part 13 to the music Children by Robert Miles. Screaming whistling serpent candles were followed by Then barrages of weeping willow crackling comet shells above. These were then followed by barrages of salute shells more comet shells. The pace started to increase again with salutes at a mid level, rhythmic burst of very intense salutes, large silver comet shells above, then gold glitter, more salutes and titanium salutes. By this point, the music was inaudible but move to:

Part 14 to the music Drifting Away by Faithless. The sky was becoming filled with dazzling silver comets at a high level, silver stars and comets below, continually rhythmic barrages of salutes at a mid level. I was unable to take any more notes at this point due to the fearsome spectacle taking place in the sky. The pace increased further and further with terrifying and deafening barrages of enormous salutes with massive silver comet shells above, the display coming to a thundering close with the sky torn apart by enormous volleys of dazzling and deafening salutes, to cheers from the trembling audience. My final notes just say WOW in very wobbly letters.

This was a very enjoyable display with a stunning finale. Many beautiful shells, and especially the unique large gold serpent shells. There was a good variation in rhythm and pace and the synchronization was excellent for a manually fired show. The silver girandolas were very elegant, rising slowly into the air and there were many different types and colours of fountains used, plus the lake was used to good effect with the nautic shells, flares and strobes as well as the water-skipping comets. There were a couple of technical problems here and there (not due to the Italian team), where it appeared that perhaps only half the display area at the front was being used, but these were very minor and did not distract from an excellent display. The only criticism of the magnificent finale was that it was not really related to the music used, the salute barrages having their own compelling rhythm and crescendos. But this is a small criticism only, since the finale was in the pure Italian tradition that we were hoping to see. All in all, the strongest of the non-digital shows with an excellent chance of a position on the winner's podium. So far, it seems that it will be Canada and Portugal battling it out for the #1 spot, with Italy and Japan battling it out for the final place.


Thanks to the public relations people of La Ronde for the official press release material, shown in white.