Michel van der Aa brought his VR opera to Cannes, and won: ‘Ten minutes later we are giggling on the boulevard’

Tuesday 13 May Press day in Cannes

My Virtual Reality Opera From Dust has been selected for the Cannes Film Festival. After the Dutch premiere in the goals last fall, this is our international baptism of fire. Today is Press Day, the festival opening of the category Expérience Immersive. Exciting!

In the chic Carlton Hotel, a large space is set up for the immersive works on floor at least 3. From Dust is one of the nine selected works that compete for the award. It is an interactive VR opera installation, in which six singers from Vocal Ensemble Sjaella the spectator-or actually: participant, co-maker-lead a world that is formed by the choices that the spectator makes. I meet the public assistants who will serve the equipment in the coming ten days and help visitors with the VR headsets. Everywhere, developers are still busy with the latest adjustments to get everything ready on time.

In the hotel it crawls from the movie stars. I step as often as possible in the hope of Jennifer Lawrence, Jeremy Strong, Robert de Niro or Quentin Tarantino, but for the time being without success.

The first group of journalists arrives and is introduced to us. The reactions to From Dust are positive; People think it’s a great project. YES!

Then quickly on to the opening drink of the Curators Networka group of programmers who have been invited by the festival to a huge catamaran in the harbor. I was pretty demolished and after an hour of unseen from the yacht. Aram Balian, the managing director of our producing foundation Doubleea, takes the honors. On these publicity days I feel a sort of double from within: a more social, more enthusiastic version of myself.

Back in my hotel room I turn back into the maker, the doubter. I know how to compose two more hours – therapy to temporarily chase that stifling feeling of approaching deadlines. According to my watch I took 21,000 steps today, my laptop shows that I composed for 20 seconds of music.

Wednesday 14 May Premiered day

We have rented bicycles (Dutch!) Around back and forth between the Carlton Hotel and the yacht with curators. This turns out to be a bad idea: everything is one -way traffic here, and agents with machine guns shout unintelligible instructions to us on every street corner.

From Dust Is completely sold out for the next ten days. Not all VIPs have been able to get hold of tickets, so during the lunch break we smuggle in a few curators. Cannes is primarily a kind of market, everyone tries to sell or buy something.

Aram and I put the pitch of every half hour on a large catamaran From Dust During speed dates with curators. Usually you quickly feel whether it has the only chance of success. A number of curators seem to be interested in a presentation at their festivals in Hong Kong, Seoul or Wales.

In another place in the harbor, the Innovation Village. Here, together with a curator of the Los Angeles Music Center, we give a presentation about our work and the role of mixed reality in music theater works. We are under the mother of all air conditioning units and we hardly understand each other.

Back at the hotel I quickly answer some urgent e-mails and I will continue to compose. Before going to sleep I watch another episode of Andora series about the rise of a fascist society.

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Photo Eleonora Paciullo

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Photo Eleonora Paciullo

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Photo Eleonora Paciullo

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Photo Eleonora Paciullo

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Thursday 15 to Tuesday 20 MayBack in the Netherlands: deadlines

I keep the mornings free to compose as much as possible. Phone out, internet blocked on my computer. I work parallel to two pieces: one for Calefax and forty other reed quintets worldwide for their 40th anniversary, and a new opera that will premiere next year. I ram chords on the piano and sing hard and false – nice to feel singing lines for my operas physically.

Auditions for the film part of the new opera. Together with my regular dramaturge Madelon Kooijman we read a keys scene in the opera with a number of actors. We cast two roles.

In the WhatsApp group of the public assistants in Cannes I read how things are going with From Dust. Here and there a technical hick-up, but they are resolved quickly.

Wednesday 21 MayLast preparations

For the Red Carpet-Moment after the award ceremony tomorrow, all men must appear in tuxedo. I don’t have that, so I have to rent one quickly.

Consultation with the 3D designers who build the virtual scenes for the film recording of my opera in June. What type of car should our main character get and what color? After viewing dozens of digital models, the choice falls on a red skoda.

I try to compose something, but with my head too much in Cannes. Then go to the gym for a moment on the rowing machine.

Nice news, some singers from Vocal Ensemble Sjaella, who into the music From Dust Performing, will also come to Cannes tomorrow. A generous donor has offered to pay their flights.

In the evening just jam with my youngest son, he on guitar, I on bass. Rage Against the Machine, The Strokes and Metallica.

Thursday, May 22Award Ceremony

Back in Cannes. Aram quickly arranges access passes for the Sjaella singers. They see during the lunch break From Dust For the first time and they are face to face with their digital twins-an outright out-of-body experience.

Then the Award Ceremony, in a luxury restaurant on the beach. After a short night I take a glass of wine on a sober stomach, and through the noise of the sea I slowly get sunk in thought. How are I going to make the transition between those two scenes that I have worked on in the last days? The chairman of the jury mentions the winner. The screams of the Sjaella singers around me brings me back to earth. Wait, what? We won! My phone explodes with congratulations; Apparently the press release went out.

In a tightly oiled machine we are lit for a hedge of photographers on the famous staircase of the Palais des Festivals. Dua Lipa pops out of the speakers, our names are announced as winners of the award for the best Immersive Work. On a life-size screen we see close-ups of our faces. The cameras flash; We turn to another group of photographers. How should I actually keep my hands? At the top of the red staircase we are kindly guided out of the building through a side exit. Ten minutes later we are giggling on the boulevard, between the other tuxedos and gala dresses. Did This Really Happen?

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