L'International des Feux Loto-Québec 2007
Montréal International Fireworks Competition Report

Germany Feel the Unusual Emotions of Original Fireworks July 25^th, 2007

IP - designed by Joachim Berner; Finale designed by Benito Pagano Pyrodigital firing; Show Director choreography; ~3600 cues

Germany to light up the city sky with an emotion-filled traditional pyromusical performance

MONTREAL, July 25 /CNW Telbec/ - Starting at 10:00 this evening at La Ronde, as part of L'International des Feux Loto-Québec presented by TELUS,

German firm IP will astonish fireworks enthusiasts with a pure-form pyromusical performance entitled "Feel the unusual emotions of original fireworks".

To enchant its audience, IP has chosen to stage a traditional-style performance accompanied by certain-to-please classical music. The show will begin with basic pyrotechnic effects, with golden hues predominating. Simplicity will be followed by complexity as carefully selected pieces take over the sky, providing a parade of colours including purples, pinks and turquoises - the most contemporary colours seen in the past 30 years.

During the show, fans will delight to a silver rain and numerous special effects such as multibreaks and a 21-part shell of shells spreading over the sky. Sparkling "pure silver"-coloured effects and a rapid progression of pyrotechnic pieces, accompanied by the soundtrack to the movie The Matrix, will make up an enthralling, typically Italian finale. Musical selections will include works by great classical composers like Bach and Handel.

In addition to conceptualizing the New Year's Eve spectacular for the city of Stuttgart in southern Germany - a 360-degree pyrotechnic extravaganza enveloping a crowd of nearly 6000 - IP has designed the pyrotechnic art for tours by such renowned artists as Tina Turner, AC/DC, The Rolling Stones and Limp Bizkit. IP is proud to take part in the Montreal pyrotechnic art competition, which it considers the most prestigious competition of its kind in the world.

Joachim Berner is indeed proud of his participation over the years in the Montreal pyrotechnic art competition in the capacity of designer for German firms Lunig Feuerwerk and Nico-Lunig, Italian firm IPON and Taiwanese firm San Tai. He says he is highly honoured to have won the following awards:

1987 and 1988 - Silver Jupiter: with Lunig Feuerwerk of Germany
1989 - Gold Jupiter: with Lunig Feuerwerk of Germany
1997 - Gold Jupiter: with IPON of Italy
1998 - Silver Jupiter: with IPON of Italy
2001 - Bronze Jupiter: with San Tai of Taiwan

With the most perfect weather of the summer, this anticipated display previously well awarded choreographer Joachim Berner had the added advantage of the participation of Benito Pagano of IPON. With a theme of not really having a theme, we were promised a traditional pyromusical extravaganza of the sort we used to enjoy in the late 1990s. With the advantage of firing last, it will be interesting to see how the jury reacts to this kind of display.

Part 1 to the music Tocatta and Fugue in D Minor by J.S. Bach. Strobes lit up in across the centre of ramp 3. Then the whole width of ramp 3. A front of pink mines were followed by fans of silver comets and then sequences of glitter comet bombettes bursting to tourbillons. Criss-crossing meteor comets were followed by huge shells with pistils above in silver and blue and then sequenced fans of silver comets below, building well with the music. These were followed by sequenced mines and then a huge studata shell of red stars as the music transitioned to

Part 2 to the music Menuet 1 by G.F. Handel. Volleys of kamuro shells formed the main theme for this segment, bursting with great synchronization to the music. As the kamuros came to an end, the music transitioned to

Part 3 to the music Menuet 2 by G.F. Handel. Colour shells with crackling pistils formed the opening theme to this segment, again with good synchronization to the music. A return to kamuros, with volley after volley and then a move back to huge colour shells with crackling pistils and then back to kamuros as the music transitioned to

Part 4 to the music La Renaissance by G.F. Handel. Fans of candles of glitter comets turning to strobes were augmented by volleys shells of comets and stars. This theme continued and moved to shells of glitter comets. Then huge shells of crackle, with volley after volley of these to cheers from the audience. These increased in size and number, filling the sky as bright gold horsetails were added into the mix, the segment coming to a close with volleys of large willow shells turning to silver, trailing to the lake to cheers from the audience.

Part 5 to the music Capriccio Italian by P.I. Tchaikovsky. Candles of silver glitter comets turning to red bombettes opened up. Above these, shells of colour comets. These were followed by crossed star candles with more colour comet shells above. Then shells of inner rings of tourbillons with stars outside in vivid blue. Mine sequences followed on ramp 3 as double ring farfalle shells burst above, some with glittering pistils. Then more of the inner tourbillon ring shells with blue stars and yet more glittering pistil double ring farfalles, with wow-inspiring volleys of these fired and then a sudden studata of comet shells. More volleys of studatas followed in comets and then in sequenced breaks of glitter comets and then in turquoise stars. These studata and multibreak sequences continued, the bursts of the sequenced breaks in perfect synchronization to the music. Next, huge willow to star shells and then a massive silver rain shell as the music changed theme. Volley after volley of multibreak shells of strobes in white and then pastel colours were followed by volleys of more strobe shells and silver comets turning to strobes. These were followed by willow shells transitioning to strobes with volley after volley of these. Cakes of strobe bombettes and silver bees were augmented by sequences of fans of silver comets with volleys of colour shells above. The comet sequences continued and then were followed by barrages of pink and purple shells and volleys of loud-breaking willow shells. The barrages increased in intensity and included embedded salutes. Then sequences of comet and star shells, in perfect synchronization to the music and augmented by large colour changing shells above and then silver shells with pistils and colour changing pistil shells, the segment coming to a close with a huge dense silver rain shell, trailing to the lake to cheers from the audience.

Part 6 to the music Barcarole by J. Offenbach. A more serene start to this segment after the frenetic pace of the previous one as a line of silver wheels lit up across ramp 3. Then a second set in the centre as gentle note-synchronized mines moved from both ends of ramp 3 to the centre and back out. The wheels transitioned to gold glitter and small gold glitter mines danced along ramp 3, arcing over to the lake. The wheels were replaced by triped fleur-de-lys fountains in pale gold as bright mines danced along with the music. Crossed glitter candles then took over as the triple-fountains continued to burn. The candles were augmented by meteor comet candles and then further augmented by candles of multiple crossette comets. Above these, shells of gentle go-getters with colour pistils. This theme continued and then a return to the gliter candles, this time with bombettes as crossette shells fired above. These were followed by huge shells of crackle with crackling pistils and then large willow comet shells ending in crackle bursts as the bombettes continued below. Then large crackling shells with crackling pistils at a surprisingly gentle pace, this serene segment coming to a close with a large weeping willow.

Part 7 to the music Orpheus in the Underworld by J. Offenbach. Familiar to many as the "Can Can" music, this segement began with mines and crossed comet candles. Then note sequenced comet shells above. The brightness and speed of the comet candles increased as "sky mine" shells of vivid blue stars burst left to right and right to left as volleys of willow shells burst above these. Then a huge studata right on the note as the sky mines changed colour as the comet candles continued below. Sequenced multibreak comet shells fired above. Suddenly colour meteor comet Z cakes came to life, perfectly representing the skirt twirling elements of the "Can Can" as sequenced multibreaks fired above. The Z cakes continued and were followed by volleys of shells of stars with silver comet pistils and then shells of willow turning to silver. Note sequenced low level shells were followed by massive studatas, again right on the note and then more sequenced multibreaks, the segment coming to a close with huge silver comet studatas.

Part 8 to the music Titsch Tratsch Polka by J. Strauss. Intersecting glitter comets from left and right on ramp 3 were augmented by strobe bombettes cakes and a run of glitter comets. As the cakes continued, huge colour changing shells with pistils fired above than then shells of stars with comet pistils. The bombettes continued as colour changing pistil shells burst above. Mines sequences were added into the mix as were meteor comet runs as the strobe bombettes continued. Then angled mines of screaming whistling comets and mines of bright comets left and right repeated on the same musical idioms. Next, fronts of mines, strobe bombettes and the angled mines and screaming whistle hits, corresponding to cymbal crashes. Volleys of large shells then fired above as the strobe bombettes continued - the volleys of shells in perfect synchronization to the music. A return to the mine and whistling comet hits as more strobing bombettes fired. Volleys of large shells fired above as comet runs swept across ramp 3 below. The volleys continued with large comet shells and shells of stars and then glitter comet candles started to fire as frenetic bombettes continued. These were followed by crackling comet candles and large shells of crackle above, more comet runs below and continued volleys of shells. More crackling shells and fans of crackling comets below, bringing this breathless segment to a close.

Part 9 to the music You are so Cool from the film True Romance by Hans Zimmer. This entire segment consisted of perfectly note synchronized small mines in different positions on corresponding to the actual notes across ramp 3 with colour and effects which transitioned throughout the segment. A very calm respite from the previous segment. A written description doesn't do the synchronization justice - you really had to be there. Very remisicent of IPON's landmark sequences in 1997 and 1998. The segment came to a close with a front of mines right across ramp 3.

Part 10 to the music from the film Harry Potter by John Williams. This began with shells of strobes and falling leaves. Then sky mines in deep colours. Huge nautical shells of silver comets then burst unexpected on the lake, seeming very close to the audience. It appeared the nautical shells were already in the lake and not fired into it as the positions left and right seemed constant for the multiple volleys of WOW-inspiring shots. The nautical comet shells continued and then amazing nautical shells of farfalle-type tourbillonsPart 11 to the music Romeo and Juliette by S. Prokofiev. Huge shells of silver comets with stars literally formed sunflower shapes in the sky. Amazing patterns with stars on one side of the pistil, comets on the other and a main burst of silver comets forming vivid three-D shapes in the sky formed the main theme. Then brilliant double ring farfalles with blue pistils as Z cakes of turquoise stars bursting to gold glitter comet horsetail-type bombettes fired below. Then a move to the same in pink with silver horsetail bombettes as barrages of large salutes fired. Then just barrages of salute candles which were then augmented by huge shells with pistils above in comets. The salutes continued below as the barrages of pistil shells fired above followed by a return to the 3-D shells with rings of comets and star pistils looking like flowers. These continued and were then followed by double ring farfalles, filling the sky. Suddenly crackling comet bombettes opened up as huge shells of stars and crackling pistils burst above as well as shells of silver comets. The pace increased as shells of crossettes burst at a high level and silver comet barrages fired beneath these and then shells with comet pistils. Volley after volley of low level shells continued as huge pistil shells burst above bringing the segment to a close to cheers from the audience.

Part 12 to the music Tubular Bells by Mike Oldfield. Z cakes of large bombettes were augmented by shells of strobes above and then shells of willow changing to colour stars. This theme continued and then a move back to strobes, filling the sky. Crackling shells were also added into the dazzling mix as massive volleys of strobes continued. Beneath these, candles of falling leaf bombettes and more serene bursts of strobes above. Then shells of falling leaves and sky mines of strobes as the music transitioned to

Part 13 to the music Pulstar by Vangelis. Crossed meteor comet fronts angled left and right fired on the hits of the music were followed by volleys of crossette comet shells. Then fans of silver comets below as the crossette comet shells continued above. Huge shells of pistils of farfalle tourbillon with vivid deep blue stars then fired as well as shells of crackle. Double ring farfalles with glitter pistils and more crackle shells followed. Fronts of silver comet fans were augmented by orange comet shells above and then a move to weeping willow volleys, the dimness of the willows in sharp contrast to the bright comets previously. The willows were replaced by brighter kamuros and then sequenced multibreaks of the same. The pace increased and the segment came to a close with two huge dense kamuros trailing to the lake.

Part 14 to the music Tetujin from the film The Matrix by Don Davis. Silver spider shells fired as the music started of quietly, then a massive silver rain shell. A pause as two huge multibreak strobe shells burst and then dazzling silver comet fans fired below. Fast star cakes started to fire and then shells of rings of salute-terminated comets with pistils started above. These continued and built in pace as massive silver comet studatas also added into the mix. A large silver rain shell and then a return to the salute shells with volleys of brighter star shells as well. The music became inaudible as massive chest thumping salutes added to the barrages of "regular" salutes and comet shells as well as huge comet studatas. The noise was fearsome as silver rain shells added into the chaos. A pause, three huge silver rain shells, studata lambis and a final burst of three huge silver rain shells, bringing the display to a close to cheers from the audience.

A brilliant display from the debutant German team (though comprised of people who have been in Montreal many times). Fantastic product, notably from IPON and San Tai as well as others, particularly the huge multibreaks and fabulous farfalle shells. Very powerful display throughout, though with some serene passages - it reminded me very much of the type of display we used to enjoy in the late 1990s. Very well sequenced and flawless synchronization, not just the low-level effects but the shells too. Not really and identifable theme - I guess the theme was that there wasn't a theme - and this could cost them points with the jury as we've had some strongly themed shows this year. Blessed with perfect weather and the advantage of firing last, it will be interesting to see if the somewhat shorter finale than expected costs them a podium position. Whilst the finale was powerful, it did run out of steam right at the end compared to what we've seen Benito Pagano do in the past, the very end being something of an anti-climax. All that said, for various personal reasons, this was, for me, the most enjoyable display of the competition (without saying anything about where it places in my overal rankings). A brilliant conclusion to an interesting but somewhat frustrating competition.