[INSTALLED]
AUDIO Electro-Voice EVA-2082S line array modules
Electro-Voice EVF-1181SB subs Electro-Voice EVU-2082/95 monitors
Electro-Voice ZX1I-90 monitors Electro-Voice CPS 4.10 and CPS 8.5 amps
Electro-Voice NetMax matrix system
Dante network card Midas PRO6 console Electro-Voice RE and PL Series mics Neumann KM 184, KM 185 and U 87 Ai microphones
Bosch Integrus simultaneous translation system
Bosch LC1-WM06E8 speakers
VIDEO Christie Roadie HD+35K projectors Christie CP2230 projectors Christie DS+6K projectors
use of multiple Midas PRO Series consoles located in various areas and connected to the network via Dante gives access to modern technology.” Mixes can be received from the
opera, chamber halls and large rehearsal rooms at the same time. During performances, one of the venue’s engineers handles FOH sound for the audience (with a Midas PRO6, an Electro-Voice EVA-2082S line array and EVF-1181SB subs); a second is responsible for the online broadcast mix and a third monitors the balance for multi-track recording. OB TV production teams can be provided with any of the mixes, plus separate channels as required. Shpakov continues: “We can record small orchestral groups, ensembles, duets, etc, in the numerous acoustically treated rooms and small studios throughout the building, thanks to the Electro-Voice NetMax Dante audio network system, which enables us to satisfy virtually any requirement.” HD coverage of productions can be
webcast or transmitted via satellite using in-house facilities such as Sony HSC-300 and Panasonic AWHE 120WE remote controlled motorised cameras, Sony RCP1000U remote control panels and HSCU 300U CCU, plus Panasonic AW-RP50 remote camera control. Video mixers/switchers are Panasonic AV-HS410 multi-format (chamber hall) and FOR-A HVS300HS- OU in the main theatre. There are OB connection facilities for 25 cameras throughout the theatre. Both simultaneous translation and
evacuation systems are by Bosch (an Integrus system with eight interpreter desks and 300 LC1-WM06E8 ceiling- mounted speakers respectively).
ON TOUR Visiting productions have already given Astana the thumbs-up for its cutting-edge technical facilities. Paris SoundWays Studio engineer Jean Chatauret, at the theatre for the broadcast of the opera Attilafor
www.installation-international.com
Sony HSC-300 cameras Panasonic AWHE 120WE cameras Sony RCP1000U remote control panels
Sony HSCU 300U CCU Panasonic AW-RP50 remote camera controller Panasonic AV-HS410 multi-format video switcher FOR-A HVS300HS-OU video switcher
LIGHTING Clay Paky Alpha washes Clay Paky Alpha profiles ETC Source Four Revolution Spotlight Beam Lights with motorised yoke
Spotlight Rinascimento fresnels Spotlight Sintesi Area fresnels 1kW Spotlight Evolution profiles Spotlight Sintesi Vario PCs Spotlight Domino floodlights Spotlight Vedette 25 followspots
CONTROL High End WholeHog III consoles
France’s Mezzo channel, described the audio system at Astana Opera House as “unique, complex and interesting, and ahead of its time”. Italian lighting designer Vinicio Cheli, who designed the lighting for Sleeping Beautyand Romeo and Juliet, two of the first productions to be staged at Astana, opined: “The Astana Opera theatre and its stage are well equipped and its team of very efficient electricians is expanded when required for specific productions. I used practically the complete range of fixtures available – Clay Paky Alpha washes and profiles, ETC Revolutions, Spotlight units with motorised yokes, etc. “The two WholeHog consoles were
programmed by the theatre’s head electrician, who, as well as being extremely fast and efficient, also speaks perfect English. Romeo and Julietwas transmitted in streaming (by Tengri News TV), but since almost all shows of this type are covered for TV broadcast nowadays, I design all my plots taking this into consideration to ensure that the stage lighting is also suitable for OB productions’ needs.” The Romeo and Julietproduction team included other famous Italians, such as Academy Award-winning costume designer Franca Squarciapino, her scenographer husband Ezio Frigerio and video designer Sergio Metalli, who used the theatre’s two Christie Roadie HD+35K digital video projectors to project reproductions of paintings animated with computer graphics. Describing the Christie 35K as the “Rolls-Royce” of his profession, he added: “They do a fantastic job – the quality of the images is marvellous and the contrast is great!” Regarding the theatre, to which he
is returning in April with Frigerio and Cheli for a production of Swan Lake, Metalli added: “Everything is extremely modern – the theatre has excellent equipment as far as live audio and video are concerned and the set-up was conceived as if it was a television studio, with a central server room for
March 2014 59
the two control rooms – the opera theatre and the chamber. The lighting control system is also very powerful and I found the chamber music hall beautiful and functional.”
www.astanaopera.kz www.audinate.com www.boschsecuritysystems.com www.christiedigital.com www.claypaky.it
www.electrovoice.com www.etcconnect.com www.for-a.com www.highend.com www.mabetex.eu www.midasconsoles.com www.neumann.com www.panasonic.com www.sony.co.uk www.spotlight.it
SOLUTIONS: ASTANA OPERA HOUSE Evgeniy Shpakov at the Midas PRO6
Picture: Astana Opera, 2013. Photographer: Karla Nur
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