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Posted: Jul 23, 2016 19:22:17

Please post your reviews of the Spanish display here!

Cheers,

Trav.


Posted: Jul 23, 2016 22:40:14

Live from La Ronde, mother of pyro gods that was good!!! Extremely well deserved standing ovation!


Posted: Jul 24, 2016 02:02:43

Best display since the Italian one of 2013, and one of the best I've seen in the competition! The Spanish team would easily win first place if they were the last competitor. Outstanding, professional and high quality! The thick smoke was a bit bothersome at times, though. Not sure if the narrative was necessary... Awesome finale!

My ranking so far:

1. Spain (by far)
2. Switzerland
3. USA
4. Chile
5. Canada


Posted: Jul 24, 2016 04:57:20   Edited by: fredbastien

Ricasa (Ricardo Caballer) made its third display in Montreal and this one was, by far, the best of these three performances. Advertised on Ricasa website as a 11,330 pieces extravaganza fired by approximately 9000 cues, that outstanding show is certainly one of the largest in the history of the Montreal International Fireworks Competition, and presumably a record-breaking display regarding the number of cues. I suspect that achieving a such artistic, physical, and technological endeavor is an exploit, within the constraints of the competition or, maybe, thanks to the opportunities it offers. For sure, it could not be possible without a very ambitious designer, his team and the talented local crew who worked hard and, presumably, had to dealt with active weather conditions a couple of hours before the show.

It is very difficult to know where to begin this review. Let’s start with the theme and the soundtrack. While movies have inspired countless pyromusical designers, this Cinemagia had a very particular way to tie various types of movie musics, which were far to be randomly selected or oriented toward the most popular. The 14-segment soundtrack evoked successive stages of the early years of life, when all dreams are possible. The introduction narrative gave an overview of the subthemes: “Dans l’obscurité du cinéma, j’ai cessé d’être un enfant. Je suis un bandit masqué, je suis un héros de fer, un chevalier invincible. Je vais vaincre le mal et conquérir l’amour.” Then, just before the Alice in Wonderland and Swing Kids musics, the child age was reflected: “Sortir du cocon peu à peu pour voir le monde. Je veux grandir, je veux me jeter dans le vide, penser, tomber amoureux, atteindre les limites. Je veux voir la vie!” The issue of identity, similar to those at the core of Inception and Avatar, were introduced by these words: “Qui suis-je? Suis-je celui qui respire maintenant ou une création de mes rêves? Suis-je le présent ou suis-je le futur? Je me découvre à travers mes actes.”. Finally, just before Tchaikovsky’s Piano Concerto No 1, which has been partially included in several movies through the 20th century, this important last segment: “Je vais me battre pour mon destin, pour ma liberté, pour mes rêves. Je vais lutter pour moi-même. Que personne ne m’arrête parce que je vais atteindre les sommets!I will come back to this ambitious claim later.

These narratives where very short, often accompanied by some pyrotechnic effects, and they help to reveal the meaning of the music choices. While the display began with the introduction quoted above, sequences of comets ending in serpents appeared, avoiding what could have been an anti-climactic opening. There were short breaks between some musics, and nice transitions between others. The mix between the final two parts was especially dramatic : the penultimate part ended with shells of strobes, which seemed to all extinguished exactly as the music stopped; about one second later, the music resumed with the final segment as large shells of comets ending in stars with pistils suddenly burst.

The pyromusical design and the synchronization were excellent, with so many impressive sequences. It began immediately after the introduction narrative, on the music of The Mask of Zorro, with percussion-synchronized sequences of strobes whose pace quickly increased (presumably requiring to shoot at the hundredth of seconds). The 2nd segment started with a series of 11 effective wheels of gerbs, which extinguished simultaneously. Then, a sequence of six-gerb stars lit up one after the other, on each side of the 3rd ramp, ending quickly with horizontal mines erupting from poles. Then, as the music turned to a series of sounds evoking a chase, we saw an impressive sequence of stars shot vertically along the 3rd ramp, followed by several VERY fast sequences of stars shot following fan patterns, as the sound of the chase gained in intensity, then reached a climax with chases of horizontal gerbs (or short mines?) from the poles along the 3rd ramp.

Later, the "jazz-style" Swing Kids included note-synchronized gerbs, mines, and meteor-headed comets, each of these types of fireworks being synchronized with different music instruments. I beated the ground with my foot on the music of It’s Raining Men (thanks God, it wasn’t actually the case), as meteor-headed comets of various colours were fired, with more angled and horizontal patterns of mines and gerbs. On the music of Avatar, I have been surprised by a mysterious, fast series of strobes which appeared at the mid-level of the display (presumably from some sorts of bombettes hidden by the accumulation of smoke), between shells of strobes above and other strobes along the 3rd ramp below.

The most energetic segments were followed by some serene parts. The Kiss from a Rose featured several 3-jet fountains on ramps 3 and 5, shells with a flower-shape pattern of stars (i.e., producing five adjacent petals), and nautical flares. The 4th segment, also quiet, included rotating nautical fountains, white double-ascension girandolas, and sequence of gerbs.

The finale was very climactic. In addition to the dramatic transition between the final two segments aforementioned, it featured an accumulation of shells (including shells of dense and multiple crackling and multi-break shells -- or studatas), mines, comets, and a barrage of salutes, which made me scream and apparently ended with the musics, but at this point, it became difficult to hear the soundtrack despite La Ronde powerful sound system. Then, the mysterious strobes appeared at mid-level again as other sounds were heard, followed by an ultimate volley of loud shells and salutes. Once the soundtrack ended, the show came to a close with a surprising signature. Reminding the Pyromagic (Hong Kong) display in 2009, sets of one-shot star projected the letters MONTREAL in white, one letter after the other, than four sets simultaneously projected 2016 in red. (By contrast, Pyromagic did a similar effect using hand-crafted mines, according to Paul's post in this thread.) At that time, I wasn’t sure what these effects were (I came close to lost my control owing to the intense finale and it was somewhat difficult to see due to smoke moving toward the audience) but I suspected some sort of characters. There were a lot of hypotheses from fireworks aficionados immediately after the show, but I then realized that these characters appear pretty clearly on my video. The letter A can be seen on this picture:



I have to say more about the 12th segment on the music of Tchaikovsky’s Piano Concerto No 1, which was a great moment of the show, a beautiful achievement that people are going to talk for years to come. From Paul’s interview with Ricardo Caballer, I understood that it would be a note-synchronized piano segment. I immediately thought about other piano segments made by the Italian team Ipon in 1997 and 1998. While they were presented almost 20 years ago, I remember how impressed I felt at the time. In 2007, the German entrant IP also featured a similar concept, with xylophone music and note-synchronized mines. The Caballer’s 4 minutes 55 seconds piano creation had nothing to do with these previous experiences: it was much more sophisticated! First, instead of shooting one type of fireworks devices during the whole piece, Caballer relied on various types of mines, gerbs, stars (which moved with various speeds) and strobes – all of different colours – note-synchronized with the piano; these appeared close to the ground, and their position along the 3rd ramp reflected their corresponding location on a piano. Second, other pyrotechnic effects – comets and shells of various types – appeared above as other instruments were also heard. Some fast pianist’s movement across the piano board were also illustrated with bright chasing sequences of some sorts of effects. This segment was a pure exhibition of the designer’s savoir-faire.

Furthermore, I believe that the aforementioned narrative immediately before this piano segment (“Je vais me battre pour mon destin, pour ma liberté, pour mes rêves. Je vais lutter pour moi-même. Que personne ne m’arrête parce que je vais atteindre les sommets!”) mirrored some feelings Tchaikovsky had once he composed that piece. A quick search on Wikipedia (click here) indicates that Tchaikovsky, who hoped that his piece would be played by Russian pianist Nikolai Rubinstein, was offended by Rubinstein’s criticism who found Tchaikovsky’s creation worthless, unplayable, and beyond rescue. In reaction to Rubinstein’s advice to make some changes to his composition, Tchaikovsky replied “I shall not alter a single note. I shall publish the work exactly as it is!” This is precisely the spirit introduced by this narrative. I also wonder to what extent it also reflects Ricardo Caballer’s own spirit. Unfortunately, I am afraid that most people haven’t discovered this meaning and, to be very honest, I wouldn’t have without some research. (It is the connection between the “identity” narrative and Avatar which led me to suspect more links between the narratives, the movies and the history of the musics.)

While smoke accumulation prevented us to assess how vivid the colour were, we can say that we saw a great range of colours, as well as very diverse effects. While it is always possible to exhibit a wider range of products, I guess that Caballer had the most diverse arsenal so far this year.

While the 4th ramp was not as heavily used as it was in the American display and that nautical kamuros were not as impressive as other water effects we saw this year, I would say that the Spanish team nonetheless made the most of the firing area. Poles along the 3rd ramp allowed for some very interesting horizontal patterns. I saw a mascletas – or something similar – hanging below the handrail of the 3rd ramp, but it didn’t produce a spectacular effect. It may have been to far from the audience or not powerful enough, but I suspect that it burst during the finale, when we already saw a lot of action.

The poor weather conditions early during the day (see some large puddles across the 2nd ramp on below photograph) likely prevented many potential viewers to attend the show. The crowd was not so large. Nevertheless, the audience gave a sustainable standing ovation to the Spanish team and applaused for about 45 seconds.





As I came back home, I thought how blessed we were to see a such achievement. That level of sophistication could certainly not be possible without the latest firing technologies (it is reported that 15 computers were used to fire the whole show) and experienced people dedicated to work hard.

My ranking so far :

1. Ricasa (Spain)
2. Sugyp (Switzerland)
3. Western Enterprises (United States)
4. Pirotecnia SPA (Chile)
5. Big Bang Fireworks (Canada)

-----

The third of the “3S” (Switzerland, Spain and Sweden) is scheduled next Wednesday. This new appearance of Göteborgs FyrverkeriFabrik in Montreal, six years after their last performance, is highly anticipated. The Swedish team is known for its popular soundtracks, razor-style synchronization, and detail-oriented pyromusical design. While some fellow viewers around me kept the Swiss display at the top of their personal ranking, I believe that Ricasa raised the bar. However, I am confident that Göteborgs FyrverkeriFabrik, with its theatrical style, may take up the challenge. The Swedish display may not be as large as the Spanish one, but there is room for a more creative performance.

Fred


Posted: Jul 24, 2016 18:30:12   Edited by: ryguy2008

I've been wanting to post comments this year, but I've had an unusually busy work month.

In short, I guess I'm the unpopular opinion for this show. Although I thought the show was very good, it definitely was not my favourite show of the season.

I realize that the smoke build-up does play a bit of a factor here. However, I feel my criticism are valid none the less:

1. I found that the show had too many smaller pieces and not enough large shells to complement them at times. It's great to see so many one-shots and tight synchronization. However, great synchronization no longer makes the show as the technology has evolved so much in recent years. For me, a great show is a mixture of great synchronization coupled with great shell density. I found that for the middle half of the show, we would see too many lower shells and then only some nice big shells at the very end of the number.

2. I'm not really a fan of soundtracks where we hear almost complete songs, followed by a pause. An excellent show, to me, is able to mix the soundtrack so that we flow from one song to another. If I look at Chile's show, they mastered this. I know many found that there were just too many songs. However, I really enjoyed this.

3. I found the choice of shells might have matched the pace of the song, but not the words of the song. The example I used last night is we shouldn't be talking about snow while seeing orange shells.

4. The finale was pretty much all white shells. Yes, it was great and particularly loud. But it wasn't a very vibrant display. "Cinemagia" could have evoked a much wider display of colours.

The show did have excellent firing angles, excellent synchronization and decent song choices. However, when I compare it to Chile who had visibly brighter colours or Switzerland who had some really neat effects, shells that matched the song choices and more, it definitely wasn't my #1 show.

Current ranking
1) Switzerland
2) Chile
3) Spain
4) Canada

Not seen: USA


Posted: Jul 24, 2016 23:22:50

Un mot pour résumer ce feu de l'Espagne: wow! La synchronisation était parfaite, la musique était bien choisie et j'ai adoré plusieurs tableaux dont It's Raining Men et le Concerto no 1 de Tchaikovsky. Le choix des pièces faisaient vraiment vivre la musique et les feux! Sans oublier la finale bien sûr qui m'a jeté à terre! J'ai bien aimé aussi la narration dont les textes étaient bien écrits. Merci à Frédéric de nous les avoir pris en note pour nous.

Voici mon classement jusqu'à date:
1. Espagne
2. Suisse
3. Chili
4. États-Unis
5. Canada


Posted: Jul 25, 2016 00:38:35

Hey Fred

Hope you can share your Ricasa video It seems the finale is cut in bob's video.

Best Regards,
Vander


Posted: Jul 25, 2016 13:24:09

I also noticed that the very last minute or seconds of Bob's video is missing. I would like to keep a copy of the display. I would appreciate if someone can upload the complete video in high quality!


Posted: Jul 25, 2016 13:30:25

I also noticed that the very last minute or seconds of Bob's video is missing. I would like to keep a copy of the display. I would appreciate if someone can upload the complete video in high quality!

Fred sent me his video - it will be uploaded later. Also, all the non-working videos (that are asking for a login) will be working again by tomorrow.

I did see a gorgeous 4k-format video of the Ricasa show - I will talk to the photographer to see if/how it can be made available. The file was 4Gig though!

Paul.


Posted: Jul 25, 2016 16:39:14

My report is here: http://montreal-fireworks.com/ReportBlog/?p=1211 - with a citation of Fred's insightful analysis from this thread included!

Ricasa are #1 for me at the moment, but I know GFF will put on a heck of a display too! What a year this has turned out to be!

Paul.


Posted: Jul 25, 2016 16:45:35   Edited by: Lars

Hi Paul,

A huge thank you to both you and of course Bob for making the videos available! It is truly wonderful to be able to follow the competition from a distance by watching those - although it never gets even close to the actual experience

Judging by the video the Ricasa show was fantastic and must have been an extraordinary experience for all who were lucky enough to witness it live! It just looked like a mind-blowing show which was perfectly executed despite the complexity.

I have admired Ricardo for a long time for his ability to master large-scale shows and shoot large quantities without loosing the artistic structure and dymanics. For instance he did the best Nit del Foc shows at Las Fallas in Valencia. Other well-reputed companies did great shows on the evenings before (with around 1.5 tones of powder weight) but when it came to the Nit del Foc (where they used to shoot around 4 tones of powder weight) not all of the otherwise experienced fireworks designers were able to deliver at the same artistic level. But Ricardo has done marvelous jobs and he clearly demonstrated this ability at this Montreal show also.

My current ranking (judging by the videos):
1. Ricasa
2. Sugyp
3. SPA / Igual
4. Western Enterprises
5. Big Bang

I'm sure all you guys in Montreal are up for a treat with the last show. GFF/Sweden are also phenomenally good and deliver fantastic choreographies every time. Compared to Ricasa they have the advantage of bringing products from several suppliers (and only high-end ) and I particularly enjoy their very refreshing combination of colors and effects in their choreographies!

They also took the first price last year in Hannover where Ricasa got the Bronze. Besides Montreal can be unpredictable, so I still think it's to early to predict the gold jupiter

Both Martin and Ricardo have rightfully earned the respect for their dedicated work which is outstanding. Although it's almost a pity they have to compete "against" each other that's the thrilling reality of this wonderful competition

I will probably not be able to post my jupiter predictions since crappy internet in a wooden mountain hut in the tyrolean alps is likely to prevent me from watching the GFF-show before the awards ceremony. But I would expect to see both Ricasa, GFF and Sugyp there

All the best,
Lars


Posted: Jul 25, 2016 17:15:59

It's good to read more comments in the forum! I feel that Ricasa's performance fuelled motivation of several viewers and readers!

Not sure if the narrative was necessary...

Enkil, I hope that my descriptive has convinced you about the relevance of the narrative, while I understand that many people don't really like such "interruptions" in the soundtrack. I am sure that more people would have understood the multiple meanings of the music choice with a printed support, as those distributed to the audience by Melrose and Brezac in 2014.

2. I'm not really a fan of soundtracks where we hear almost complete songs, followed by a pause. An excellent show, to me, is able to mix the soundtrack so that we flow from one song to another.

Ryan, while I do have a different ranking, I do agree with you on this criterion. The soundtrack could have been edited in a tighter way. It's likely that the upcoming Swedish entrant will have an advantage over the Spanish one.

3. I found the choice of shells might have matched the pace of the song, but not the words of the song. The example I used last night is we shouldn't be talking about snow while seeing orange shells.

While the matching between the fireworks and the song wording was not perfect, we may find other examples where it was well-done. For instance, in the same segment than the one evoking snow, Kiss from a Rose, we say flower-shape shells.

Hope you can share your Ricasa video

Vander, I sent my video to Paul early. It is my understanding that Paul is looking for the best alternative to show Ricasa's finale to forum members.

My report is here: http://montreal-fireworks.com/ReportBlog/?p=1211 - with a citation of Fred's insightful analysis from this thread included!

Thank you, Paul. Everyone should read carefully your report of Ricasa's show. It brings some perspective to this performance with recent developments in firing technologies and a significant trend toward one-shot pieces and all the implications of using such devices.

Fred


Posted: Jul 25, 2016 18:06:17


Posted: Jul 26, 2016 00:29:47   Edited by: Smoke

Isolated strong to severe thunderstorm clusters were affecting extreme S./SW Quebec, forming just after lunch time ahead of a secondary cold front and attendant shortwave trough. These thunderstorms were largely capable of producing torrential rains and locally strong convective gusts. Sections of the East end also reported in small hail with the first series of thunderstorms that affected the island. Fortunately, the thunderstorms moved out of the area by mostly mid-afternoon, with a few lingering convective rains as far as a little after dinner time (as confirmed by Fred’s supplied photo). The thunderstorms, however, further moistened the air, causing humidity to be nearly very high for the remainder of the day. Winds were mostly in the form of West-Southwesterlies for the evening period, and combined with higher degrees of humidity following the thunderstorms, this meant that smoke would be accumulating rather rapidly and moving reasonably quickly towards the La Ronde audience directly. Earlier thunderstorms and continued instability into the early-evening also likely kept attendance smaller than normal.

This was a fabulously crafted display by the Spanish team! I, too, am not too certain as to where to begin! Because of the overall wind direction and speed, we could see most of the display without much problem, so the display appeared mostly fresh. The low-level sequencing of one-shots in this display was absolutely phenomenal and did immediately and profoundly cause a surge of memories of Italy 2013 to surface. Indeed, the opening segment, “The Mask of Zoro”, was brilliant, with rapid sequences of angled mines during the initial narrative, and eventually spot-on timing of the bright and dazzling flares that rapidly raced at low-level. This opening piece quickly constructed the impression that many magnificent segments were to come, and, indeed, that was the case. One very memorable segment was that of “Swing Kids” - the creativity and complexity of the display and firing angles used were very exemplary in this particular section of the display. The note-tight synchronization was simply superb here due to the manner in which the single shots of gerbs, mines and comets near-perfectly mimicked the critical components that made up that particular soundtrack. The angling of the gerbs towards the water at a couple of moments also added a neat dimension to an already chaotically covered sky! The way the arrangement of spinners at low-level came to life and disappeared was extremely coordinated! Another very impressive section of the display was “It’s Raining Men”, which also featured fantastic choreography and, again, interesting firing angles - this piece was one of my personal favorites! The second segment, entitled “G.I.Joe Retaliation”, also really brought out some spectacular firing patterns and made great use of the available space, much like the aforementioned segments. My favorite soundtrack in the display was “Maniac”, which I thought was also well represented, though I was hoping for a little more elements introduced to better enforce the background music! For these reasons, synchronization was virtually perfect, and not just in terms of a simple interplay between fireworks and music, but also because of the Spanish team’s ability to significantly highlight important elements that made up the various selected soundtrack. I must also emphasize the genius of the “Piano Concerto Number 1” segment. To be able to achieve such a powerful degree of sophistication was simply outstanding. The virtually perfect harmony of the piano notes heard in the soundtrack to go along with the incredible sequences of flares, gerbs, comets, and mines seen during this piece was so stunning that words cannot do it justice! This will, no doubt, be a segment that will be referred to for a long time, as it really was that unforgettable!

The display also had a great diversity of products used to represent most of the segments, and the quality of their quality was excellent. The depth of the display, too, was quite extensive from high- to low-level, and from left to right, making great use of the available space (and more!). With such a vertical and horizontal extent, it can become challenging to sustain symmetry consistently, but this display managed to withheld this perspective very effectively. Although I was uncertain as to what would comprise the display, the name “Cinemagia” immediately signaled “film” or some form of “theater”, and that ultimately was largely the basis of this display. The theme, therefore, was successful in depicting the music from popular films, although some soundtrack seemed out of place. Finally, we saw good ang mostly gradual transitions in pace, which did help to evoke some semblance of defined emotions. In particular, the G.I.Joe segment giving way to the “Kissed By a Rose” section was quite effective. The spelling of "Montreal", followed by the "2016", as captured nicely in Fred's video, was a very captivating way to conclude this display!

Some negative points, however, did come to my mind and somewhat draws on those points made by ryguy2008. Firstly, probably most important for me, I thought the display lacked a larger arrangement of color (fairly common this year), and I thought a larger color richness would have been quite appropriate during certain sections of the display, especially given the nature of some of the songs that had been employed, and considering the overall nature of the theme. The narratives, while brief, seemed a little bit distracting and did, for me, provide a little bit of an anti-climax to open the display, even though the opening segment quickly became brilliant and pyrotechnics were taking place during this initial narrative. At times, I also did feel a sense of “slight” repetition with some of the segments in terms of firing pattern (mostly one-shots), but this was largely minute, anyway. While the theme was broadly understood, its essence seemed elusive, leading to a few unknowns for me. Perhaps, as Fred noted, it would have been helpful to have a printed scripting of the display on hand to acquire a better comprehension as to what is intended to be conveyed with respect to the thematic premise. In relation to representation, again, there were moments where I thought that more could have been incorporated in order to really bring out some of the songs. As mentioned previously, I was hoping that the segment “Maniac”, for instance, would have had more material used to highlight the background rhythm of the song.

Some songs were quite enjoyable, but, again, there were a selected few that just seemed out of place with respect to the theme, and some songs endured over a longer period relative to others. As much as I loved the exquisite elaboration presented in the piano segment, I found that this particular piece occupied too much time and could have been shortened to allow for potentially one or even two additional separate segments. For this reason, I would have either liked to have seen other segments endure for a little longer, while others over a (much) shorter time span. Finally, while I enjoyed the finale (including the series of rapidly sequenced photoflashes to introduce it), I do agree with ryguy2008 that it would have been appropriate to use a larger color mixture, which could have perhaps added more depth to it. For me, it was a little disappointing not to see a richer color selection, especially since more diversified coloring schemes were often absent during the performance. In addition, the finale could have endured for a little longer, but, nevertheless, it was powerful, dramatic, and sky-filling! As Enkil mentioned above, many components of this display certainly reminded me of Italy 2013, but I feel that I enjoyed Italy 2013 a fair amount more, perhaps due to a sense of more depth to that show, the more organized and unique structural design of the theme, and, most notably, the overall musical choice, although I did find the narratives disruptive (more so than in this Spanish display).

Overall, this was a fantastically executed display, ant the Spanish team stands a strong chance of collecting a Jupiter award this year. It is a pity, though, that the often thick smoke, from La Ronde’s vantage point, drowned out the vibrancy of some of the effects, as well as the dimmer colors used, at times. Luckily, too, the thunderstorms did not interfere with this very enticing display (before and/or during)!

And I fully agree with Fred that it is very nice to see a sudden burst of commentaries/reviews on this forum, as compared to what was largely a quiet season here!

Trav.


Posted: Jul 26, 2016 00:48:58   Edited by: reflections_of_earth

They also took the first price last year in Hannover where Ricasa got the Bronze. Besides Montreal can be unpredictable, so I still think it's to early to predict the gold jupiter

We were 2nd in this competition, was a tough one

That's also why I have stopped commenting on the shows, as I meet and face the teams in various competitions its harder to be the guy who's saying bad things about their shows in montreal

Vander, I sent my video to Paul early. It is my understanding that Paul is looking for the best alternative to show Ricasa's finale to forum members.

Thanks Fred! Our group of Philippine pyro enthusiasts would be very happy to see the whole show!

Best Regards,
Vander


Posted: Jul 26, 2016 01:15:57

Hi Vander,

I guess that's why you haven't been as active as earlier years recently

I also hoped this was a sign that we will see you compete in Montreal shortly? I think a lot of fans wish for that so I cross my fingers to that

All the best,
Lars


Posted: Jul 26, 2016 01:20:26

I also hoped this was a sign that we will see you compete in Montreal shortly?

That would be awesome!

Trav.


Posted: Jul 26, 2016 01:48:15   Edited by: reflections_of_earth

The directors of Dragon are on their way to Montreal for the site visit, so let's keep our fingers crossed that we get invited soon. We were lucky to meet Maria Grazia's team in Stuttgart for another competition! They saved our finale in Hannover and at the same time they have become very good friends! Some of the best fireworks people I've met together with Brazil's team and IP's team

Vander
 

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