In The Flowering Desert, the interaction with the space it was designed for, a planetarium, not only informs the compositional approach, but it also opens the possibility of using it as a vehicle to communicate the subject matter of the piece on a different experiential level. In this situation, the collaboration with the planetarium lead, Colin Hutcheson, was crucial to understanding the technical and practical possibilities of the space. For example, the dome and the limited space for performance push the musical performance, and therefore the musical discourse, into a surround setting, spreading the instrumentalists into a circular disposition[45]. This favours engaging with the transformations of the rotation of the planetary system into musical material and delivering experientially the general idea of rotation and the concept of harmony of the spheres.
The dome also pushes the theatrical action to the ceiling, to the visuals. This affects the approach to the operatic composition, as in this case the main point of attention of the narrative is reflected in the projections rather than in the theatrical action of the singers[46]. The composition is therefore informed by the different techniques and strategies explored previously, such as the use of layers[47] or processes[48]. They interact with the visuals to drive the dynamism of the piece. The theatrical action that cannot be communicated by the direct performance of the singers, as they are not in the central point of the visual field of the audience, needs to be communicated in this case by the musical elements in relation to the space.
Another important element of the engagement with the space that defines, from the composition perspective, the interaction with the other elements of the production is the strategic use of the specific acoustic elements of the dome. For instance, the main character of the piece, Pantele, is placed in the acoustic sweet spot of the dome, where it gets natural amplification, stressing its importance in the narrative. By making this piece “Pantele-centric”, the other two characters (the star and the comet) therefore rotate around it[49], which is reflected in their theatrical and musical performances from different positions in the space[50]. In the case of the character of the Measurer, as seen in 2.2.2.2 The Flowering Desert, the use of the 5.1 audio system in the planetarium allows to play the pre-recorded whispered singing representative of the character from the rear speakers. The resultant effect helps to enhance the sensation of somebody whispering behind our ears while we focus on the visuals projected in front of us[51], helping to represent the idea that we are hearing the character’s thoughts.
The fact that this piece is performed in a planetarium helps already to communicate the subject matter of astronomy and astrophysics thanks to the cultural association of the space with a specific theme, as it happens in Besse by being performed in a brewery[52]. However, the use of the specific characteristics of the space as a compositional layer that dialogues with the different disciplines involved in the creation of the piece can have a direct impact on communicating, in an experiential manner, the specific ideas explored in the piece beyond its overarching thematic.
Example #9
Compilation of examples from the documentation of a dress rehearsal of The Flowering Desert showcasing the relation of the work with the space:
- Scene 1 (bars 140 to 167): Xoe the exocomet passes close to Pantele in the visuals and in person. Xoe sings in different positions in the space as she leaves the system. Please note the use of the Doppler effect material (as seen in 2.2.1.1.1 Doppler effect in Scene 1) dispersing in the score as Xoe leaves.
- Mélodrame 1 (bars 28 to 43): The Measurer describes being at the Atacama Desert in the night. The pre-recorded whispered singing is played through the rear speakers. In the moment the Measurer says "cold air currents" [00:01:12], the half-whispering technique morphs into whispered singing. This is replicated by the ensemble: the flute, the clarinet, and the French horn play air sounds (placed in three different positions in the space) in addition to the whispering.
- Scene 4 (rehearsal mark 4 to rehearsal mark 8): Xoe is on a course to collide with Pantele. The Mother Star is burning the ice in the comet, accelerating it towards the planet. The chorus representing the Mother Star sings from behind the screen of the planetarium, pushing Xoe and accelerating the music. Xoe sings from one position, slowly getting closer to Pantele.