{"id":998,"date":"2025-01-15T14:23:23","date_gmt":"2025-01-15T13:23:23","guid":{"rendered":"http:\/\/jayweiner.me\/blog\/?p=998"},"modified":"2026-01-12T00:02:37","modified_gmt":"2026-01-11T23:02:37","slug":"fanny-and-alexander-a-mix-of-electronic-and-acoustic-music","status":"publish","type":"post","link":"https:\/\/jayweiner.me\/blog\/music-diary\/fanny-and-alexander-a-mix-of-electronic-and-acoustic-music\/","title":{"rendered":"Fanny and Alexander: a mix of electronic and acoustic music"},"content":{"rendered":"\n

The electronic music I mentioned in my main article about “Fanny and Alexander<\/a>” is quite interesting and a core aspect of the music of the opera. <\/p>\n\n\n\n

Speakers were placed across the auditorium and on the ceiling to create a surround sound experience for the audience (see here the speakers attached to the chandelier).<\/p>\n\n\n\n

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The electronic parts of the scenes were carefully balanced with the sound of the amplified singers and orchestra to create a blend that, ideally, would be near imperceptible throughout the majority of the opera.<\/p>\n\n\n\n

The amplification on the singers was also taken advantage of in particular in one scene in which Aryeh Nussbaum Cohen, playing Ismael, had a reverb effect put on his voice to create a more mystical and mysterious atmosphere for the scene. This all has been praised by some critics for the innovative nature of this idea, but has also been at times criticised<\/a>.<\/p>\n\n\n\n

Sound design<\/h4>\n\n\n\n
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Here is an interesting article in La Monnaie magazine about the sound design in “Fanny and Alexander”: A unique surround sound experience<\/strong><\/a><\/p>\n<\/div>

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And a video in which the composer and conductor speak about the concept of mixing orchestral and electronic music: <\/p>\n\n\n\n

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