It is common to say that performing a display in the Montreal competition is a great challenge for all pyrotechnicians who are invited. Brézac, winner of the Silver Jupiter in 2006, clearly took up this one (therefore, I guess, completing the ultimate trio of the 2010 vintage, more on this below). But I would add that this company has a challenge in store for the audience (and the jury). Great openness of mind was required to welcome and to fully appreciate this fine and elegant piece of pyromusical art. This one was very different than the other displays made by those who appear as Jupiter contenders.
One of the brightest idea introduced in the recent years is to supply the on-site audience with a printed descriptive of the display. When it is introduced into a pyromusical event, this practice common in other type of shows (concert, theater) provides an opportunity for the designers to explain their viewpoint, and for the viewers to prepare themselves for the show. Sunny (China) did it for the first time in 2008 with a printed sheet, and Melrose (USA) did the same in 2009 with a leaflet. Brézac Artifices has prepared a nice brochure, with a very high-quality design. Under the cover, an environmental statement ("The Earth is in danger. It’s a risk of becoming unbalanced. It’s both hot and cold, dry and wet, peaceful and volcanic. It’s also colourful, noisy and varied. We need to act now to make sure it stays that way for our children!!!" ) overhangs 12 "subthemes" of the show entitled "Our Earth": four elements (earth, water, air, and fire), the four seasons, and four moods (melancholy, serenity, joy, and anger). However, I don’t really understand the purpose of these human moods which contrast with the nature-inspired main theme. I would have preferred four natural states related to some events which punctuate the life on Earth (storms, volcanos, earthquakes… these type of natural events Trav would be more qualified than me to talk about!). The central pages identify the members of Brézac’s crew and the list of musics.
This brochure was absolutely crucial to make sense to the display, as I’m pretty sure that those who haven’t read it didn’t capture the thematic concept. Even with it, it was not always easy to connect the subthemes to the actual pyromusical segments. I’m still unsure about their order of appearance. This is the Brézac’s challenge to the audience I wrote about above. However, some of them were obvious. The water-theme segment included two lines of blue flares on ramps 3 and 5, Niagara Falls, fan candles of blue bombettes with shells of blue stars above, the whole set featuring two or three shades of blue. The wind segment was made of pyrotechnic devices making some sounds, like shells of white crackling comets and others of crackling pistils. The winter theme was also crystal clear, with white nautical flares, small shells of tourbillons, shells of farfalles with red pistils above, then nautical rotating fountains among the flares, more red and green products, as higher fountains erupted on ramps 2, 3, 4 and 5. This segment came to a close with all these low- and medium-level effects still in life, and larger chrysanthemum shells synchronized on Christmas rings. On the music of "Carousel Waltz", cakes horizontally attached to the fence of the third ramp shot multicolour stars, with multicolour strobes and other multicolour effects, evoking the merry-go-round spirit (I guess that was the joy segment).
The quality and diversity of pyrotechnic pieces were Jupiter-worthy. To the common arsenal of some type of shells, mines, candles, and ground-level effects, some pieces deserve to be mentionned : some multi-break shells of comets shortly after the start of the display, some shells of thin green and yellow go-getters (about six minutes following the start), spirale-shape shells, and other shells similar to bow-tie but including a ring from the middle of them. For the first time in 2010, we saw some flights of silver/white rockets. (I feel that rockets are common in French displays but rare in those performed by teams from other countries; I wonder why.) On a segment with sound of birds, rare cylindrical shells have appeared, bursting twice in small clusters of stars during their ascension, and then bursting a last time in large Saturn effects. I also noted, likely on the music of "The moon", V-shape cakes of stars from the five platforms of the fifth ramp and two more cakes from both extremities of the third ramp, which were in life for two minutes. Such duration is outstanding. In fact, I suspect that each of these firing positions included a set of four V-shape cakes since there colours turned from orange to green, to blue, and to silver, with short overlapping between each one.
The nautical products were numerous, diverse, and unusual. I was especially surprised by the use of nautical bombettes bursting in comets, nautical flares, nautical mines, and nautical rockets, all launched over the lake from angled Z-cakes. (As I rode the Giant Wheel early, I had seen on the third ramp some devices oriented toward the lake which looked more like cakes than the usual mortars.) Thus, the number of nautical pieces was higher than it is usually, several times covering the lake with a carpet of lights. I am not confident enough to state that these presumably cakes of nautical pieces were never seen before in Montreal, but they are not usual, for sure. Nautical shells of kamuros, launched from mortars, also burst during the finale.
To conclude with the pyrotechnic side of the show, some minor problems occured (i.e., a gerb lit up at the wrong time on the right side of the fifth ramp around 3:40), and some effects might have been more effective with minor adjustments, especially the wave effect (around 22:20) whose blue-ending mines were fired with a too high angle, in my opinion. But these things are very minor.
The synchronization was almost perfect, often note-synchronized, even with some secondary components of the soundtrack. It was the case with some note-synchronized mines during the finale. The pyro always followed the rhythm of the music. Synchronization was not as clean-cut as in the Swedish display, but the whole French extravaganza looked a bit more artistic and a little less technical then the Swedish one. I believe that the synchro was a bit better than the one in the Canadian display, though.
The mix of the soundtrack was almost as great as in the Swedish and Canadian displays. Whereas Göteborgs FyrverkeriFabrik choose popular songs and Fireworks Spectaculars Canada favoured movie musics, most of Brézac’s soundtrack was made of original music, composed by Régis Peters and sponsored by Brézac. This is a bold choice because it brings the risk to keep the audience away. However, it permits to get a tailor-made soundtrack for the themes explored through the show. (Weco has not been so daring for its display rewarded with the Platinum Jupiter in 2004, since the original segment of its soundtrack actually featured well-known tunes, like the Ô Canada for the finale.) In addition to the connection between the thematic concept and the actual display, I would say that the type of soundtrack was another part of the Brézac’s challenge to the audience. Not that the soundtrack was not good, but it was not designed to engage the viewers as effectively as the Göteborgs’ one. There was a striking contrast between the audience’s reactions to this display and the Swedish one. Whereas Göteborgs over-excited the viewers who moved on their seat (or dance on the street), screamed, and clapped through the show, there was no reaction at all from the audience during the show last night, and the applause following the finale was more polite than enthusiast (many people around me didn’t stand). However, the Swedish concept was much more easy to get and the Montreal competition would become ennoying if all entrants focus on the most popular songs.
The challenge was huge for the jury because it is the kind of display which rise questions about our openness to a broad range of artistic orientations, a desirable quality for this prestigious fireworks competition. If I have been a member of the jury this year, I would surely spent a lot of times last night debating myself with the ranking of this ultimate entrant. I believe that the Canadian, Swedish, and French teams deserve high and similar marks on most criteria. Last night, I told to some people that I would rank Brézac’s display on the third position. But after a careful analysis, I decide to revise my opinion and to update my ranking as follow :
1. Sweden
2. France
3. Canada
4. Poland
5. Italy
6. Portugal
7/8. Taïwan/United States (in no specific order)
I keep Göteborgs ahead of Brézac for having a more obvious theme, better and more consistancy with the high-level of synchronization, and for the amount of details in the pyrotechnic design. Then, I rank Fireworks Spectaculars Canada behind Göteborgs and Brézac mainly because the products used were a little less original, and because Brézac performed greater efforts to get an original soundtrack and to explain its theme to the audience. But overall, all these differences are extremely small and it is very difficult to make a finale decision. This one is mine and other – as the jury – will likely reach different rankings. More on this later this week in the prediction thread!
In addition to carefully prepare their shows, the members of Brézac crew also select their clothes in a remarkable way. In 2006, they wore car-racer suits, thus echoing a component of their soundtrack. This year, they have chosen a more conservative and typically French costume, made of grey pants, a white shirt, a navy suit with some armorial bearings, black shoes, and a hat surrounded with blue, white, and red lines, the latter being appropriately removed during the national anthem. My mind may be too conservative, but I believe that the way people dress themselves say something about how they value what they do, and I think some contestants should be inspired by these French colleagues, and shouldn't wear for the official ceremony clothes similar to those wore as they setup their show. This week ceremony was hosted by Michel Lacroix. The wind were fortunately strong enough to push all the smoke made by countless cakes of various effects, colours, angles, and speeds. Viewers could not see the 2.5-meter balloon the press release mistakenly referred to. I only saw the balloon (the Earth) inside the Salon des artificiers after the display and its diameter was smaller than 2.5 meters. Someone has to do his maths!
Fred |