One could make a banal observation that the Metropolis, which Lang built in his film, is our contemporary world. From the point of view of the interwar Europe, the vision was certainly attractive and tempting. From today's perspective, with the idealist fascination of living in the tower of Babel already behind us, we are surprised to notice that the walls we built, with the intention of separating us from the foreign, the different, the poor and the immigrants, grew into our minds unnoticed and formed a labyrinth we cannot escape from. We cannot recognise the paths we already travelled, our memory has stopped serving us the information we need. The world had degenerated into a series of images
whose meaning we cannot understand, and which we cannot put together in one comprehensible whole. We have lost the key to our mind. Metropolis is a trip into the mind of a contemporary man - there is only fear, nothing else.
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The direct impulse for making Metropolis - the 1927 black pearl of German silent cinema - came from Fritz Lang's trip to New York. He created the epitome of the city of the future, breath taking in its modernity and scope, while at the same time showing the pathologies of the society trapped in the labyrinth of technical progress. After nearly 80 years, when New York turned into the icon of the new century, suddenly Metropolis became more realistic than ever before. Today its message is: "We live in fear, our minds, houses and cities became our prisons. Evil done to others turns against us". The reason for composing a new score to Metropolis was the intention of showing the demons of the world transforming before our very eyes. The monumental, 147-minute composition for a symphony orchestra, choir and soloists is a masterful embodiment of the vision. Its author is an outstanding young Polish composer, Abel Korzeniowski.
The location for the concert and the projection is an important part of the project. The place should be associated with Lang's images, either externally - through industrial character, making the viewer feel separated in a huge area cut off from the external world - or through the social subtext of the event. The venue should hold at least 2000 people, so that it would be possible to develop the atmosphere of a major gathering or near-religious reverence. Open-air performances are possible, provided that the area will be enclosed in some way, giving the impression of space separated from the surroundings. A classic concert hall is not appropriate for the project, as it separates the scene from the audience too directly, which results in the viewer watching only, instead of participating in the event.
The music is played live by a 90-piece orchestra, a choir of 60 voices and two soloists. Some sections are additionally enhanced with sound layers provided by loudspeakers. Due to the size of the area where the concert takes place, the soloists and the choir require sound reinforcement. Both soloists participate in a symbolic duel between two different
cultures, contrasted aesthetically and morally. The first one reflects the cultural roots - unprocessed, unspoiled by commercialism. The other one grows out of pop culture, urban atmosphere of large cities and is written for a female singer of "star" status, recognisable for the audience. Should the venue allow, the choir is located in the back, behind
the audience. In such case the second conductor is necessary, with live video monitor feeding the image of the main conductor, who remains in the front, with the orchestra.
The music is composed precisely for the image, therefore besides the score, the main conductor needs also two monitors - one with the movie, the other with the time code, enabling the synchronisation with the image shown to the audience on the large screen above the orchestra. The projected version of the film is the 2001 restored German copy,
3341 meters and 147 minutes long when played back at 20 frames per second. This is the original speed in which Metropolis was made, required to avoid the accelerated movement resulting from the playback at the modern standard of 24 f/sec. As a result, the dynamic scenes lose the unintended comical effect, and the dramatic ones regain their weight
and meaning.Installations and art direction can accompany the project, provided that they will not distract the audience during the projection.