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Le Mondial SAQ 2003
Montréal International Fireworks Competition Report

Opening Saturday June 12th, 2004 Harmony

Ampleman Pyrotechnie (artistic director Eric Cardinal, FireOne firing, ScriptMaker choreography) and Circus Orange (artistic director Tom Comet).

As part of the Coupe du Monde SAQ, the Canadian firm Ampleman will present the opening fireworks display saluting the 20th anniversary of the Montréal International Fireworks Competition. Ampleman is a veteran of 11 previous Montréal competitions as the Canadian representative, and won a Bronze Jupiter in 1989 and 2002 as well as a Silver Jupiter in 1999. Its out-of-competition display, entitled "As Time Goes By," will present various technologies and amazing pyrotecnic acrobats feats.

Perfect weather was the setting for the out-of-competition opening display of the 20the edition of the Montréal International Fireworks competition. The opening ceremonies of this special evening included a first - a pyromusical display designed by La Ronde's crew synchronized to a live performance by local signing star Ginette Reno. All the fourteen countries who'd previously won a Gold Jupiter were presented on stage and it was announced that this year there would only be one special prize - the Platinum Jupiter. All the entrants are previous Gold Jupiter winners and will receive special 20th Edition Participation Jupiters. Another first this evening with the intergration of live pyrotechnic performances from the internationally renowned Circus Orange into the display. The theme of the display was a passage through the history of the fireworks competition, from hand-lit displays in 1985 up to the cutting edge of technology with the computerized displays no used.

Live Performance by Ginette Reno. As the spotlight illuminated Ginette Reno on the floating stage, a line of triple silver fountains lit up with fans of gold-headed meteor candles. Above these, shells of crackling willow comets followed by shells of red stars and glitter comets with silver comet shells above. Then shells of red crossette stars. These were followed by blue star and gold comet candles with pattern shells in blue spirals above and then crackling willow comets. Next, shells of blue with candles of blue and gold comets below. These were followed by shell-of-shells of gold strobes. Next, a sequence of large colour changing peony shells followed by fast paced mine fronts changing colour on each shot. Then kamuro shells with some bright colour shells at a lower level (a bit too bright) followed by large glittering weeping willows and then large shells with blue pistils and silver comets. Shells of blue crossing stars were followed by a flight of double ascension girandolas with the performance coming to and end with large kamuro shells trailing to the lake.

Introduction to the music Harlequin's Meditation by Sven Vath. A barrage of rising tail shells bursting to glittering palm trees opened the introduction to the display as nautic strobes burst into life. A narrative section explaining the concept of the display followed saying that the first Gold Jupiter winner, Marutamaya, hand-fired their winning display in 1985. The explanation continued and led into the first performance by Circus Orange.

Circus Orange section 1 to the music Sensorium by Delerium and The Diva Dance by Eric Serra. The performers danced on the stage with silver gerbs in their hands as close-proximity star shots fired from the rear of their floating stage. As the performers danced with flaming torches, short duration silver gerb hits were fired to the music. Then bright flash pots lit up the stage and more gerb hits and fans of stars and crackling comets, the performance coming to an end with more crackling fans and a volley of shells above.

Part 1 to the music Floating Euphoria by Dan Gibson. A line of silver fountains in V shapes lit up as the narration explained the development of the pyrotechnic arts and a line of fountains in inverted T shapes lit up. After the narration was over, candles of whistles and salutes fired up followed by bombette candles of comets and then whistling serpent candles. Above these, shells of bright go-getters, silver comets and shells of hummers. These were followed by more go-getter shells and shells of rings of stars ending in small bouquets of stars, bringing this part to a close.

Part 2 to the music Boléro by Ravel (conducted by André Previn). Another narrative opening continuing the developement of the pyrotechnic arts as a line of silver V fountains lit up. These were followed by star candles and then angled clusters of comets and then tourbillons. Above these, gold glitter shells. Next a sequence of white meteor headed comet shells and gold glitter shells. This was followed by angled comet candles and candles of salutes. Then shells of gold strobes, more salutes and huge gold glitter to gold strobe shells.

Circus Orange section 2 to the music Nothing Left by Orbital, Naked and Ashamed by Dylan Rhymes and Access by DJ Misjah and DJ Tim. White strobes lit up at the back of the main ramp as the narration continued explaining the development of the pyromusical up to modern computerized firing. The Circus Orange performers began leaping about the stage on cantilevered stilts with gerbs firing on their backs as flash pots went off and clusters of stars were fired. Then downward pointing gerbs fired giving the impression the performers were flying around on rockets. Next each performer's arms and legs had silver gerbs firing down as they leaped around on their stilts. Then large gerbs began to rotate on the performers heads! This continued with star shots and then two large flame throwers fired up and out over the lake. As this continued, a large fireball errupted in the lake as more star shots went off, the performance coming to an end as the flame throwers extinguished.

Part 3 to the music Montée des soucoupes by Juno Reactor and Tan Dun. Criss-crossing star guns stared to fire as lance work lit up "XX" at the left and right and "20" in the centre. Nautic fountains lit up in the lake and then a large flight of gold glittering girandolas rose in the air to cheers from the crowd. Then mines of comets and salutes followed by broccade shells above. Below these, pink star candles and candles of clusters of comets. Next colour-terminated broccade comet shells followed by shells of white stars. This theme was repeated and then candles of large magnesium stars, more broccade shells above and a barrage of gold broccade nautical shells exploded in the lake with the same shells in the sky above as the music moved to

Part 4 to the music Kill Bill theme by Tomoyasu Hotel. Shells of lightning flashes dazzled the audience and were followed by shells of hummers. After these, mines of bees. These theme continued and then shells of colour stars ending in strobes above as the music moved to

Part 5 to the music Mucha Fritura by Senor Cocount. Cakes of fast stars with shells of clusters of stars and comets burst above and were followed by candles of salutes and comets and then shells of tourbillons and whistles. Below these, crossed comet candles and then more cakes of fast stars, the segment coming to an end with a barrage of large shells as the music moved to

Part 6 to the music Adiemus by Karl Jenkins. Rising tail shells bursting to charcoal weeping willows opened up. These were repeated, but in larger shells. Then even larger with glittery charcoal fronds followed by blue tipped willow comets. Then more palm tree shells (with a large flowerpot). These were followed by fans of magnesium stars with more weeping willows behind. Then larger charcoal comet shells ending in blue tips (with another large flowerpot). The weeping willow theme continued ending with a barrage of really large glittery charcoal comet shells ending in strobes.

Part 7 to the music Transformation by Kouichi Korenaga. Shells of falling leaves were followed by crossed bright yellow meteor comet shots and then the same in shells. These were followed by bright yellow star shells, then paler yellow with more crossed yellow meteor comet shots bellow. These were followed by even brighter crossed yellow magnesium stars with shells of falling colour clusters above.

Part 8 to the music Moving Fast Man by Alex Gopher. Huge shimmering magnesium star fans opened this segment and were followed by mines of strobes with shells of bright white meteor comets above. Then more strobe mines and shells followed by fans of magnesium comets. Above these, sky mine shells and then shells of silver stars and comets. Back to the sequence of strobe mines with strobe shells above and shells of comets turning to strobes as the music moved to

Part 9 to the music Rock Dope Stupid by Rob Smith. Sky mine shells were followed by farfalle shells (rings of tourbillons around a pistil of stars) and shells of whistling tourbillons. This theme was repeated and followed by whistling tourbillon candles and candles of salute-terminated serpents. A return to the sky mine shells followed by farfalle shells and shells of tourbillons.

Part 10 to the music Trinity Dream by Juno Reactor / Don Davis. Broccade shells trailing to the lake were repeated and augmented by thick bright gold comets crossing in the centre. Then large weeping willow shells followed by more broccades trailing to the lake. Then brighter broccades above with fans of broccade comets below at the left and right with a cluster of the thicker comets in the centre. Above these, shells of broccade comets ending in blue and mines of the same below, this theme continuing, with the segment coming to an end with cones of rockets bursting to colour clusters.

Part 11 to the music Désert by René Dupéré. A starfish Radienna (a type of Maltese Irdieden came to life on the roof of ramp 4 in the centre of the display. Fast comet guns fired left and right and then cakes of glitter and shells of comets above. The Radienna came to a halt as clusters of comets fired at the left and right and large silver weeping willows fired above.

Circus Orange section 3 to the music Sunrise by Anjo. The performers held gerbs and multi-linked rings of fire which they began to spin. Star cluster shots were fired as the performers danced and lit gerbs on long poles and traced patterns of fire in the air. Close proximity comets fired with fans of comets in the main display area behind and then shells of blue above. Crackling fans fired up around the performers as they continued to dance with the gerbs on poles as shells of blue stars and shells of strobes fired above, bringing the performance to an end.

Part 12 to the music Firebird Suite and Electric Head part 1 by Stravinsky and White Zombie. A final narration announced the beginning of the grande finale. Shells of bright orange comets with fans of meteor comets below. Then mines of crackling stars and barrages of large multi coloured shells above, the pace increasing and increasing. The pace increased with more cakes of crackle, the barrages of shells above, then furious cakes of salutes at a low level, large salutes at a higher level. The finale building to its climax with volleys of kamuros, coming to an end with comets trailing to the lake and a final barrage of very large salutes, to cheers from the audience.

This was a very different display from that normally presented in the competition. Since it wasn't in competition, all sorts of innovations could be tried out. It was very interesting to see the performers of Circus Orange integrated into the display. This was very effective for members of the audience sat in the centre and close to the stage, a little bit less effective for those with an oblique view. The synchronization of the performers into the display was impressive and I'm sure, after their debut here in Montréal, we'll be seeing more of them in Quebec. The main display itself was enjoyable and the narrative sections worked surprisingly well and it was a good choice to use the inimitable Michel Lacroix for these segments. One minor criticism that springs to mind is that in a couple of places the delicate charcoal and broccade effects were visually drowned out somewhat by brighter pieces. Another being that the narration announced that computerization allows for fast-paced synchronization but we didn't really see this point emphasized, though the synchronization itself was flawless throughout. Overall a very innovative, artistic and enjoyable display.

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Spain Saturday June 19th, 2004 Lights for Peace

Pirotécnia Igual [Gold Jupiter, 1988 and 2001] designed by Albert Rovira-Bertran; manual electrical firing and FireOne sequencing, ScriptMaker choreography.

In memory of Mr. Mario Igual Baseda, founder of Pirotecnia Igual, who passed away in March 2004. Product of a century-old family tradition, Pirotécnia Igual will be competing at the Montréal International Fireworks Competition for the ninth time. Over the years, this Spanish firm has garnered close to 40 international awards. This year, it will be presenting "Lights for Peace", a grandiose pyromusical celebration of peace, with spectacular starbursts illuminating the Montréal skyline.

Gusty winds and cool temperature were the order of the day after a week of warm weather. As display time approached, the temperature dropped as much as the wind but we had brilliant Spanish fireworks to warm our hearts as the competition proper began after a moving speach for peace by the Spanish Consul General in Montreal. Eagerly anticipated by aficinados of all things pyrotechnical from the Iberian peninsula, Spains absence for three years was brought to an end by a fantastic display from the team from Barcelona. Fired with a mix of traditional manual electrical firing, and computer sequencing of the appropriate parts of the display, they demonstrated their mastery of the art of pyrotechnics.

Part 1 to the music The Grenadiers Drums by R Chapi. The display opened serenely with mines of strobes. Then shells of comets with crackling pistils above. Next, mines in triple clusters in the centre with shells of rings of comets with crackling pistils above and large shells of crackle. Then mines in alternating colours, green, red and then very bright stars. These were followed by shells of green go-getters above with mines in orange below. Next, a flight of silver girandolas which rose hight into the air. These were followed by a flight of bright gold glitter double-ascension girandolas followed by shells of red go-getters as the crowd cheered. Next, mines below and shells of comets with crackling pistils above. Then barrages of shells of red with blue pistils and shells of comets ending in strobes. Barrages of colour shells were followed by shells of bright dahlia comets, some with rings around as meteor-headed comet candles fired below. Then shells of rings with colour pistils followed by salutes at a lower level with large shells of comets and crackling pistils above. The pace increased as the segment came to an end with huge shells above and fronts of mines below.

Part 2 to the music Spanish and Catalan Fantasy (Mix). This segment opened with bright meteor-headed bombette candles and barrages of salutes. Then candles of serpent comets with shells of contrasting colour comets above. This theme continued and then shells of crackling comets followed by shells of electric comets (the comets look like branching electrical sparks). After these, shells of gold glitter turning to gold strobes. These increased in size and number and were augmented by mines of the same in triple clusters below as the shells got larger and larger. Then bright mines with shells of comets ending in crackle above. These were followed by colour changing shells ending in crackle as more serpent comet candles fired below. Really nice shaped shells of butterflies with rings fired and were followed by huge shells of brilliant silver crossette comets, filling the sky. The music changed character as bright mines fired below with shells of crackling comets above. This theme continued and then more shells of the electric comets as the music changed character again a return to the shells of comets with crackling pistils. These were followed by huge bright colour shells and shells of stars and comets, bringing the segment to a close.

Part 3 to the music Diamonds are Forever performed by Shirley Bassey. A line of set pieces in the shape of diamonds lit up and twinkled white in very bright strobing lances which lasted for the duration of the segment. After these, shells of comets turning to strobes with meteor comet candles below and mines of strobes. Then go-getter shells above as the meteor comet candles continued below. Next, shaped-burst shells in the form of six pointed stars surrounded by a ring and then fabulous shells forming six pointed stars with each point in different colours. These were followed by a return to the mines with shells of silver crossette comets above. This theme continued and then was followed by shells of shells of silver crackling comets and huge shells of rings of comets. Next, fafalle shells (rings of tourbillons with colour pistils> and shells of rings of comets with colour pistils. Nautical fountains then lit up in the lake as mines of strobes fired and shells of electric crossette comets turning to strobes above. This theme continued, the segment coming to an end with huge shells of silver comets.

Part 4 to the music Crimson Time soundtrack by H. Zimmer. A serene start with pastel-headed charcoal comet candles firing up and to the right. These were augmented with the same comets in weeping willow shells above, with barrage after barrage of these. Then glitter mines and mines of serpent comets. These were followed by shells of tourbillons and farfalle shells, with bombettes below. Next, crossed glitter candles and candles of violet stars. As these continued, huge rockets flew high into the air and burst gently into gold firedust and violet stars forming a fabulous tableaux in the sky. Then shells of broccade introduced different gold glittering effects. These were then followed by shells of meteor comets with steeply angled bright orange candles firing left and right below. This theme continued and then shells of bright orange and white lit up the sky as crossed meteor headed comet candles fired below. These were followed by pink shells and then shells of silver comets with contrasting pistils, barrages of these bringing this segment to a close and leading into

Part 5 to the music The Rock soundtrack by H. Gregson-Williams. Large shells ending in crackle were followed by shells of crossette comets with bombettes below in orange and violet. Then huge mines in orange and then yellow with shells of rings of comets above and salute barrages below. This theme continued with the segment coming to an end with huge shells of comets and pistils and ending with large silver kamuros.

Part 6 to the music Elsewhere by Vangelis. A line of set pieces in the shape of chevrons, several to the left and several to the right forming a pattern like < < < < > > > > lit up in brilliant white strobe lances. Above these, multiple volleys of silver falling leaf shells. Then shaped-burst shells in the form of spirals. These were followed by shells of stars and starfish comets and then a return to the spiral shells and then more falling leaves. Next shells of silver comet wiggly go-getters as nautic strobes lit up and the lake and then shells of strange moving wiggly tourbillons zig-zagged across the sky. Below these, tourbillon candles and shells of silver comets above, bringing the segment to a close.

Part 7 to the music Ben Hur (mix) by M. Rozsa. Shells of go-getters were fired as a line of gold wheels started to turn below. Then more go-getter shells. These were followed by nautical fountains in the lake and a line of triple fountains behind on the floating ramp. Above these, shells of niagara falls comets trailed in the sky and were followed by shells of falling leaves. Next, shells of colour changing stars with pistils and then, in perfect harmony with the music, shells of strangly wiggling tourbillons coinciding perfectly with glissando runs on the clarinet in the soundtrack! These were followed by barrages of strobe shells and then fast mine and comet fans in chase sequences in perfect synchronization to the music. Angled mine shots on the notes with comets to the left and right worked perfectly with the music. These were followed by shells of crackle with mines of blue and crackle below. Next, shells of gold glitter turning to strobes and then a fabulous repeating sequence of crackling crossette comet shelsl and shelsl of electric comets. Below these, barrages of salutes and then barrages of colour shells above, getting larger and larger. Next shells of charcoal comets followed by shells of spiral patterns and then the pace increased with huge saturn shells and then a return to charcoal comets with pastel-headed tips. These increased in size and number, filling the sky with enormous bursts bringing the segment to a close to cheers from the audience.

Part 8 to the music Nutcracker suite (mix) by Tchaikovsky. This fabulously choregraphed segment was done almost entirely in mines and comets, the synchronization and attention to the music making it especially memorable. As the music started out gently, single V-shaped comet shots strated in the centre. Notes were emphasized with mines at the left and right, moving with the music. Then angled comet shots to the left and right followed by comet shots in V patterns. First a single V, then increasing to two, three, four and five. Similar treatment was done with mines of clusters of stars. The character of the music was perfectly matched by a change to comets of fireflies, using the same sorts of sequences. Then in mines. As the music demanded, chase sequences in comets moving left and right. Then mines in alternating contrasting colours, moving faster and faster in perfect harmony with the music. As the music became faster, the mines became brighter and the sequences moved faster with brilliant colours. Then mines of serpents and, as the music moved towards the climax of the piece, shells fired abouve in colours and comets, with mine sequences below ending in fronts of mines with huge shells above. Absolutely fantastic throughout!

Part 9 to the music Firebird suite (mix) by I. Stravinsky. This began with crossed comet candles with shells of thick comets above. Then shells of tourbillons and shells of comets with colour pistils. These were followed by fans of glittering comet shots, sequenced perfectly to the music. Above these, large shells of comets with pistils and then mines below. Next, hughe shells of silver with crackling comets. Barrages of these were augment by mines below and then shells of stars with starfish comets. These were replaced by shells of crackling comets as the music moved to:

Part 10 to the music Schéhérazade (mix) by Rimsky-Korsakov. Shells of firefly comets were fired and these continued and were replaced by large charcoal comet shells and then shells of rings of stars surrounding comets. Next, fans of charcoal comet candles with shells of the same above and then barrages of weeping willow shells in charcoal comets, the size increasing and ending with huge shells of comets ending in strobes.

Part 11 to the music Mythodea by Vangelis. This finale section began at a fast pace with huge shells of stars with contrasting pistils and then shells of crackle and fans of crackling comets below. Above these, crackling silver comet shells, meteor-headed candles at a low level, bombettes at a higher level. The pace increased beyond my ability to take notes as barrages of salutes thundered in among the huge barrages of bright yellow shells, nautical shells in the lake, becoming more and more dramatic as the audience roared in delight. I lost ability to write anything else except a large "WOW" in my notes as shell barrages filled the sky and fronts of mines fired below. Just the sort of classic finale everyone was expecting!

Part 12 to the music Imagine by John Lennon. A post-finale tribute to the main theme of the display, peace. Double concentric hearts in red broke softly in the sky above shells of broccade and candles below. The broccade shells increased in size and number as more and more double concentric hearts in violet and pink burst above. This theme continued with larger and larger barrages of broccade shells, filling the sky and the lake also with nautical shells, bringing the display to almost the end as the crowd cheered and the music stopped. Then, the final apotheosis as flights of huge salutes thundered into the sky bringing final cheers from the audience.

The audience gave the team a standing ovation after this fabulous debut to the competition proper. Beautifully designed and choregraphed throughout, this was just the sort of opener everyone was eagerly anticpating. Showing true artistic skill in the choice of colours and effects, the display was a joy to behold. Particularly effective were simple things like using white strobing lances to trace out the shapes of diamonds in the "Diamonds are Forever" section. However, for me, the highlight of the entire programme was the wonderfully sequenced Nutcrack Suite section using mainly comets and mines. Very simple in many ways, but very effective and showing terrific restraint and attention to detail throughout. In a normal year, I would end by saying "must be in contention for a Jupiter", but, of course, all the competitors are prior Gold Jupiter winners. And boy, does it show! I'm glad I'm not a judge this year. Viva España was the chant as the team came into the press room after the display. I, for one, cannot argue with that sentiment! One final comment, the order of the music in the press release was incorrect so one or two above may have the wrong headings. Pieces that were easy to recognize are correct though.

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Japan Saturday June 26th, 2004 Harmony

Marutamaya co., Ltd. [Gold Jupiter, 1985] Designed by Toshikatsu Ogatsu, Pyrodigital firing; Show Director choreography; ~400 FM modules, 5800 cues

Founded in 1864, the family firm Marutamaya boasts over a century of pyrotechnical expertise and has entered the Montréal International Fireworks Competition seven times, winning a Bronze Jupiter in 1994 and a Gold Jupiter in 1985. Their show this year, "Harmony," is a powerful pyromusical epic that will unfold according to five elemental themes: Earth, Water, Fire, Wind and Air.

After a few warm days, a return to cold air and a threat of rain and thunderstorms. Luckily, these all passed to the south of Montreal and a perfectly clear, but quite cool and breezy, evening was the backdrop for this eagerly anticipated display from the Japanese team. Their consul general in Montreal gave an impassioned speach during the introduction and the press release hinted at the treat that was to be in store for the audience. Designed by the president of Marutamaya, the display promised to be a blend of traditional Japanese design in the context of a pyromusical with a Buddism-inspired theme bringing all the primitive elements together.

Part 1 to the music Summon the Heroes by John Williams. After a short narration explaining the theme of the display, fast sequences of meteor-headed comets roared across the display area from left to right as low-level shells of red blue burst above. Then more fast moving comet sequences in fans with multi-colour shells above, bringing this very short introduction to a close.

Earth

Part 2 to the music After the Sunrise by Yanni. A narration introduced the first of the elements, Earth. Candles of silver go-getter comets rose into the air as shells of silver with crackling pistils burst above. Next, a sequence of silver mines in pairs moving from the centre outwards, then the same but in yellow. This sequenced theme continued and used mines of blue with serpent comets and then fans of comets in trailing glitter. Above these, shells of silver comets and then shells of willow comets ending in clusters of smaller willow shells. A return to very fast sequenced comet runs with low level shells in comets and runs of very low angled go-getter comet shots below. These were followed by shells of comets with colour pistils, then shells of comets with strobing pistils followed be crossed fan comet shots below in one fan, then two and then three with this sequence repeated with the go-getter silver comets. This theme was repeated and augmented with shaped-burst shells of comets forming butterflies in the sky. Then huge shells of pistils and comets turning to strobes, the segment coming to a close with massive shells of willow comets with two pistils changing colour and all the comets turning to crackle at the end, to roars from the audience.

Part 3 to the music from the 6th Symphony by Ludwig van Beethoven. Mines very well synchronized to the music were followed by fast comet chase sequences and then a return to mines. This sequenced theme continued and then was augmented by multi-colour shells above, then shells of blue and then shells of wiggly comets (but different to serpents or sperm shells). These were followed by huge shells of comets and pistils, more shaped-burst shells of butterflies and then, to the delight of the audience, shells forming smiley faces. Barrages of pattern shells, some appeared to be in the form of fish, then more butterfly shells and some huge saturn shells with massive pistils. These were followed by more smiley face shells and then "thousand blooming flower" shell-of-shells of multiple clusters of colours stars. Barrage after barrage of these were fired, repeatedly filling the air with clusters of flowers, either all the same colour or in multiple colours. Then shells of six clusters of stars forming a starfish shape with strobing pistils. More barrages of the thousand blooming flower shells, then enormous shells of multi-colour changing stars and pistils, the segment coming to an end with a gigantic butterfly shell where the comets became pale gold kamuros and trailed to the lake and the strobing pistil filled the sky as well.

Water

Part 4 to the music An Der Schönen Blauen Donau by Johann Strauss II. Run after run of blue and silver mines ran from left to right and right to left, giving the impression of breaking waves. Then sequences of mines with bombettes above followed by shots of whistling serpents and shells of crossette stars above. Then more runs of blue and silver mines as shells of red and blue crossettes burst above. These were followed by crossed meteor-headed comets in orange, with fans of these in the centre and blue bombettes above these. Then shells of silver comets and blue stars above with sequence fans of crossed comets below in dazzling orange. Next, shells of blue stars and silver comets, with blue bombettes at a lower level and fantastic runs of stars-on-notes and then meteor comets below. Then fast runs of serpents followed by fronts of mines to the with shells of colour crossette stars above and then fans of white meteor comets below. These were followed by shells of glitter turning to blue above. Then massive shells of multi colour changing stars and then the same but with comets in as well. These were followed by shells of blue and then shells of multi colours and comets followed by huge shells of willow comets with blue pistils, bringing the segment to a close.

Fire

Part 5 to the music Ride of the Valkyries Richard Wagner. Lines of fireballs introduced the new theme and were followed by shells of falling leaves. Then multiple mines left and right and incredible fast fans of comets that almost made a ripping sound they were sequence so fast - think of Z-cakes on steroids, but all done with one shot comets. These were followed by mines and bombettes in gold broccade, augmented by shells of the same, then more mines, then more shells getting larger and larger as the music swelled. These were followed by mines of silver go-getter comets and shells of blue stars and comets above and then shells of the wiggly go-getter silver comets. Next, runs of comets and stars followed by shells in bright orange fast strobes. Then a repeating sequence of orange mines below and shells of fast orange strobes above. Then more of the fast ripping fans of stars followed by enormous pattern shells above with outer rings of comets and two inner rings side by side. Thousand blooming flower shells of pale gold kamuros were followed by shells of slower gold strobes and gold glitter with mines of green below. Then shells of white strobes folloed by shells of slower gold strobes. Sequences of go-getter comet mines moving from left to right and then fronts of mines with multi-colour shells above. These were followed by low angle glitter comets and then fast comet runs. Huge silver kamuro shells were followed by more mine runs left and right and then mines in charcoal comets with colour tips moving to a sequence of high and low level broccade shells then bursting into thousand blooming flowers of colour clusters. This theme continued with enormous shells of clusters of pale gold kamuro comets, bringing the segment to a close.

Wind

Part 6 to the music One of These Days by Pink Floyd. The sound of the wind was augmented by very fast fan comet rips (like the Z-cake effects described earlier) and then, as the music stared, massive fast sequences of screaming serpents moving left and right again and again. Above these, shells of stars and shells of whistling serpents. These were followed by shots of crossed charcoal comets and then more and more fast sequences of whistling serpents in all sorts of arrangements, the sound being deafening. These were followed by fast sequences of meteor comets and then a return to the screaming serpent shots. The pace increased as shot after shot of screaming serpents and then shells of wiggly silver comets. More really fast sequences of meteor comets moving left and right and then very bright orange comets in fans, then crossing over, then sequenced mines and a return to wave after wave of sequenced screaming serpents and fast mine runs. This continued and then mines of the silver go-getter comets and more screaming serpents, bringing the segment to a close.

Air

Part 7 to the music Silk Road by Kitaro. A more serene section as shells of comets and stars lit up. Then thousand blooming flower shells and massive shells of clusters of kamuros. Then shells of silver comets and more blooming flower shells followed by enormous shells of comets with glittering and crackling pistils. Then shells of comets with two different coloured pistils all colour changing intermingled with sky mines of strobes and shells of falling clusters of stars (different from the blooming flower shells). More massive shells with multiple pistils and comets, changing colours and shells of crackling comets and blue and gold glitter. Below these, mines in red and gold and more thousand blooming flower shells and yet more enormous shells with multiple pistils all changing colour and ending in glitter. This theme continued with more blooming flowers, shells of crackling comets with pistils and shells of gold glitter with blue pistils, bringing the segment to a close.

Part 8 to the music Jupiter from The Planets by Gustav Holst. Fast sequences of comets moving left and right and in ripping fans and then fronts of silver comets with shells above were followed by shells of glitter turning to strobes and huge shells of colour changing stars and pistils followed by multiple clusters of kamuros. Then barrages of shells of rings and back to enormous shells with kamuro comets and colour pistils and then shells of blue pistils with crackling comets. These were followed by red thousand blooming flower shells and then shells with colour changing pistils and massive shells with two different coloured pistils and even three pistils. Next shells of colour stars in clusters forming starfish in the sky and then the same but with strobing pistils and shells of sky mines. This theme continued and built to a climax with huge shells of wiggly comets, the segment coming to a close with massive kamuros trailing to the lake.

Part 9 to the music Beyond the Century by Adiemus. Fans of comets with gold strobe shells above were followed by followed by shells of fast orange strobes and then slower gold strobes. Then pattern shells in smiley faces, double concentric hearts, shells forming the shape of fish, more smiley faces, the starfish clusters with strobing pistils. After these, fast mine sequences followed by a return to the colour cluster starfish shells, with each "arm" in a different colour. These were followed by barrages of ring shells with the burst charge laced with titanium, bringing the segment to a close.

Part 10 to the music from the 9th Symphony by Ludwig van Beethoven. The finale began with huge shells of colour and comets, then shells of crackle with crossed comet shots below. These were followed by the starfish cluster shells and huge shells with comets and pistils above and then thousand blooming flower shells. A more serene moment with falling leaves shells in strobes was followed by starfish shells with strobing pistils. The pace increased with mines in clusters below, silver comet shells above and shells of multiple pistils. My notes start to become unreadable due to the pace and the fabulous shells but I can read that there were shells of half one colour and half the other with pistils in reverse. As the apotheosis approached, barrages of shells in single colours, representing (I think) each of the elements of Earth, Water, Fire, Wind and Air. Fast mine sequences were also firing after these as the theme moved to massive barrages of pale gold kamuros, getting larger and larger and filling the sky to huge cheers from the audience. All I can read at the end is Awesome in big letters. The audience rose to their feet to give the Marutamaya team a standing ovation.

This was a fantastic display. The quality of the shells used was just incredible with multi pistil shells with two and three colour changing cores. Also the many wonderful pattern shells, really too complex to adequately describe. The many sequences of mines, stars and comets were breathtaking, though, perhaps, a little bit repetitious at times, this being a very minor criticism. Interestingly, I didn't notice any salutes fired, but the display was so intense at times this wasn't even noticed. The theme was well done, especially the crashing wave effects implemented with blue and silver mines during the "water" section. Many people were speculating at what such a fabulous display must cost at retail prices - we witnessed shells that sell in Canada for around $1000 being used almost in the same way a "normal" display would use 3" shells! The luxury of being a manufacturer! A staggering 5800 cues were used, many of them being used for the Z-cake effects and other amazing run and chase sequences. Surprisingly, there were no nautical shells fired. The level of competition already this year is just astounding. In a normal year, this display would surely win Gold. I'm glad I'm not on the Jury!

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Italy Saturday July 3rd, 2004 Feste Romane

Ipon S.R.L. [Gold Jupiter, 1997] Designed by Benito Pagano, Pyrodigital firing; Show Director choreography; ~160 FM modules, 1588 cues

Founded in 1896 and run by the Pagano family for three generations, Ipon S.R.L. is based in Ottaviano, near Naples, and today ranks among the leading pyrotechnics firms in Italy. Among the awards to its credit: a Gold Jupiter for their first presentation (1997) and a Silver Jupiter (1998) at the Montréal International Fireworks Competition. Their performance at this year's competition, Feste Romane, promises to be a majestic pyromusical celebration in which fountains, comets and candles come together in tribute to the world's best-known Italian city: Rome.

Perfect summer weather finally graced the skies of Montreal for the eagerly anticipated display from the Italians. With more than 95% of the material produced by IPON, there were also some specially created shells just for the competition with some new effects introduced. The large audience made for a carnival atmosphere.

Part 1 to the music Circenses by Ottorino Respighi. The display began with very bright mines with shells of white to strobes above. Then crossed star shots below and more shells of white to strobes above. These were followed by large shell-of-shells of comets and fans of stars below. Next, shells of charcoal comets turning to fireflies and then note synchronized mines followed by shells of charcoal comets turning to fireflies. Barrage after barrage of the charcoal comet to firefly shells were followed by shell-of-shells of the same. The pace decreased with a return to single mines on the notes moving from the left and right in red and very bright blue. Then semicircular fans of very bright blue mines followed by the same pattern in silver glitter. Next, glitter comet shots with comet shells above followed by more comet shots and then shells of red stars and comets. The same theme continued but in shells of blue stars with white comets. Next, sky mines at a medium level with shells of white comets above and white comet fans below and then semicircular fans of bright meteor comets. Above these shells of glitter comets with crackle and salutes as the comet fans continued below with silver comets, meteor headed comets and glitter comets. Next multi-break studata shells in blue tipped willow comets, with barrage after barrage after barrage of these filling the sky. Then shell-of-shells barrages and shells of blue with silver pistils. These were followed by huge shells of blue with silver comets with barrage after barrage, with bright fans of glitter comets below, brining the segment to a close to cheers from the audience.

Part 2 to the music Balletto by Ottorino Respighi. Candles of tourbillons were followed by comet shells and then mines of serpents and mines of stars with more comet shells above. Then shells of silver and farfalle shells with different coloured stars. Next shells with pistils of tourbillons and shells of colours stars turning to white strobes. These were followed by a line of fountains with pairs in Vs and single fountains. Angled comet shots from the left and right fired over the fountains. As the fountains died out, shells of silver and blue with mines of serpents, fans of star mines and shells of very eccentrically spinning tourbillons intermixed with sky mines. These were followed by large shells of blue stars and comets and shells of glitter with tourbillons. Below these, shots of very bright mines and then shells of above in comets with colour changing tips. The segment came to a close with white comet shells and crossed glitter shots below.

Part 3 to the music Steel Magnolia suite by Georges Delerue. Single shots of charcoal comets turning to fireflies were followed by single shots of pink stars and then crossed shots of meteor comets. Small mines on notes one by one, then crossed yellow stars and crossed charcoal comet shots. The music was very serene at this point. Fans of blue mines were followed by shells of blue stars and broccade comets. Then large shells of weeping willow comets, trailing to the lake. The pace increased with barrages of weeping willow comets with strobing pistils, trailing to the lake. Then broccade shells with silver star shots below. The pace increased with barrages of huge pale gold broccade shells as the silver star shots continued. Back to a serene moment with single crossed star shots and single note mines. This serene theme with single shots comets in glitter turning to fireflies and then red meteor comets and then green, the segment coming to a close with bright blue star shots.

Part 4 to the theme music from the film Iron Will by Joel McNeely. Bright flares briefly lit up and were followed by comet shots with shells of glitter comets above. Then shells of colour changing stars with pistils and flash pots below. Angled comets were followed by shell-of-shells above with candles of stars turning to tourbillons at the last moment. Above these shells of stars and tourbillons with multi-break studatas and shell-of-shells above in serpents and stars. Below these, more flash pots and then mines of serpents. Next shells of charcoal comets turning to silver. Barrage after barrage of these weeping willow to silver shells were fired with star shots below. Then more multi-breaks in stars and comets. These were followed by barrages of bright silver kamuro shells with bright mines below, the segment coming to a close with huge shells of silver kamuro and studatas in comets and glitter.

Part 5 to the music Leaving Port by James Horner. Nautic flares lit up in the lake and then bright mines synchronized with the sound of bells in the music. Double ascension gold glittering girandolas rose and fell and rose again to cheers from the audience. The nautic flare then began to strobe as shells of comets turning to strobes fired above and bright mines below. Then shell-of-shells in willow with blue and huge weeping willow shells trailing to the lake. Next, mines one by one with bright shells above and single shot comets and mines below in fans. These were followed by large shells of colour stars and crackle with fans of stars below. Next mines of blue, red and green followed by weeping willow shells above and the same in shell-of-shells and multibreaks. Then big farfalle shells and shells with colour pistils. More huge shell-of-shells in colour with crackle built up the pace and then a return to serene music with single comet shots in charcoal, bringing the segment to a close.

Part 6 to the music The Sword Maker by Jerry Goldsmith. Bright fans of stars with salutes above and then shells of colour changing stars ending in strobes. These were followed by farfalle shells with fans of blue stars below and then more farfalle shells and shells of glitter comets above. Next bright fans of stars and then single shot glitter comets followed by shells of glitter and strobes. These were followed by mines of willow comets turning to silver - the same as had been in shells earlier. These were fired one by one and then in fans. The pace increased with sky mines and shells of serpents and then sky mines and shells of comets. Barrages of multi-breaks in red and shell-of-shells in silver and comets, the segment coming to a close with a very fast sequence of meteor comet shells.

Part 7 to the music The Might of Rome by Hans Zimmer & L. Gerrard. Three bright orange strobes lit up in the centre as fans of crossed glitter comets fired above these. Then silver comets and multibreak shells of comets and colour changing stars. This theme continued and then shells of colour turning to strobes. Next, shells of very bright white stars with salutes below and then bright colours mines below these. Barrages of huge shell-of-shells in silver comets and multi-breaks of glitter and colour were followed by shells of stars with tourbillon pistils and double ring farfalle shells. Massive barrages of huge multibreaks and shell-of-shells in tourbillons glitter colour and comets. The pace continued to increase with more massive barrages of shell-of-shells and multi-breaks in silver comets turning to strobes. Then a long repeating bombardment of bright white stars turning to strobes some in shell-of-shells filling the sky with white stars and strobes. The pace increased further as the bombardment continued and then suddenly the pace dropped and the sky was left filled with white strobes winking out. After the strobes died out, crackling fans in white were followed by silver kamuro shells above. The pace increased again as more and more silver kamuros filled the sky trailing to the lake with meteor comet shots in red below. A more serene moment as a line of flares lit up at the back and then a large silver kamuro. Barrages of white stars turning to strobes were augmented by shell-of-shells in strobes, filling the sky in massive bombardments. A return to serenity with fans of glitter comets and red stars in pairs, bringing the segment to a close.

Part 8 to the music Memphis Belle by George Fenton. A dazzling arc of initially yellow flares in the centre became so bright that people started putting on their sunglasses! As it was about to become unbearable it faded after some white shells were fired above and then a move to shells of willow with colour tips. Below these, crossed glitter shots and then sky filling barrages of huge golden broccade shells. These barrages continued and then were followed by shell-of-shells in silver glitter. Next shells of orange stars turning to salutes with shells of purple above. These were followed by shells of comets and tourbillons with mines of gold and blue below. Next, barrages of multi-break gold rain shells and shell-of-shells of blue creating a very nice effect. Then a return to broccade shell barrages filling the sky and trailing to the lake with shell-of-shells as well. This theme continued with a change to paler gold broccade barrages again filling the sky. The pace slowed with comet shots bringing the segment to a close.

Part 9 to the music I pini della via Appia by Ottorino Respighi. The finale began quite serenely with comets in Vs and fans of comets in silver. Then single shot mines and shells of double concentric rings above in red and gold and shells of crossed rings. The pace began to increase with shells of colour and comets and shells of tourbillons and colour. Mines of serpents with shells of colour and comets above and large farfalle shells and shells of glitter as salutes started to fire with every shell. Then the pace increased further with shells of silver comets, more salutes, more farfalle shells and multi-breaks and shell-of-shells of meteor comets. Things started to increase even further as enormous chest thumping salutes were fired every second and dozens of other salutes in between as more and more silver shells, huge multi-ring farfalles, shells of serpents, glitter and more and more salutes. The audience started to go wild as the pace increased, the chest thumping salutes continued for a full thirty seconds or more as more and more shells, shell-of-shells and salutes were fired. I couldn't write anymore as I was stamping my feet and cheering so loudly and my hands were shaking. The intensity increased still further with enormous volleys of deafening salutes. The sky was filled with silver and salutes as the pace increased even more with a massive barrages of studata lambi shells, then a moments pause after this penultimate barrage and then the sky as ripped apart by a massive barrages of huge salutes as the audience screamed and rose to their feet to give IPON a standing ovation. All I could write during the last minute was WOW in huge letters and a final "crowd go wild". What a finale!

As expected, a fabulous display from IPON with the greatly anticipated pure Italian finale. I later found out that the final minute of the display used just nine cues, with all the shells using 1 second pyro time delays between them, especially the enormous salutes which, I was told, contained around 1kg of composition. The rest of the display was extremely well done with a full range of intensity from sky filling barrages of enormous shell-of-shells to very serene moments with just single stars or comets being fired. Some people I spoke to thought that the serene moments were just a little but too serene. Throughout the display, many beautiful shells, especially the farfalles and different types of broccades and the bright white shells. Synchronization was perfect, though, in the final minute of the finale, it was impossible to hear the music anyway due to all the salutes. The team received an incredible standing ovation with the audience whistling and cheering for what must have been a full five minutes. Fantastico!

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Spain Saturday July 10th, 2004 Music of My Heart

Pirotécnia Caballer [Gold Jupiter, 1986 and 1993] Designed by Rafael Garcìa Barat Electronic firing; ~4000 cues

Based near Valencia, Spain, this century-old pyrotechnical firm has won numerous international awards and distinctions, including two Gold, two Silver and one Bronze Jupiter at the Montréal International Fireworks Competition. The firm's entry in this year's Coupe du Monde SAQ, "Music of My Heart", is a grand pyromusical ode filled with hundreds of extraordinary pyrotechnical effects that pay a moving tribute to the music that inspires our lives.

Thunderstorms and rain in the early afternoon threatened to dampen festivities for the second Spanish display of the competition, but skies magically cleared out to leave perfect conditions for the display. The 100,000 people on the pont Jacques Cartier probably thought otherwise by the end of the display though! Anticipation for this display was very high, especially after noticing the very large number of candle and comet positions set up on ramp three and the addition of an extra set of seven floating platforms, which we'll call ramp 5 in the report. My expectation was particularly elevated after seeing Rafael Garcìa Barat's magnificent display during the 7th International Symposium on Fireworks held in Valencia last October.

Part 1 to the theme music from Planet of the Apes by D. Elman. A narration with a girl talking to her grandfather about their favourite music became a running theme throughout the display and was used to introduce each segment, the music starting after the sound of a vinyl record (with crackles and pops) preceeding each piece of music. A large set piece in the shape of a dove traced out in white lances lit up as white strobe pots fired at the back of the display. Then a sequence of mines left, right and up followed be sequences of comets in fans to the left and right. These were followed be fans of meteor headed thick gold comets as nautic strobes lit up in the lake. Then mines of thick comets with glitter stars and larger thick meteor comets above these. Next, shell-of-shells of salutes with meteor comets angled to the right below. This theme continued and was followed by shells of crackling electric comets with the same in comet sequences below. This theme also continued and was followed by mine sequences moving in a fan from left to right, the segment coming to an end with blue shells and flame projectors on ramp 5.

Part 2 to the music Strangers in the Night by F. Sinatra. After the introductory narration, blue nautic flares lit up in the lake with serpent mines above. Then a sequence of bright blue candles with the same in bombettes above and then shells above these and mines below. A front of big blue mines was followed by shells of green strobes and shells of gold glitter turning to strobes. Fans of comets fired on ramp 5 as more gold glitter shells and the same in comets below. These were followed by large shells of strobes with one-by-one mines below. Then huge orange mines and the same in shells above and then shells of orange strobes. The segment came to a close with shells of mixed white and orange strobes.

Part 3 to the music Tous les visages de l'amour by C. Aznavour. After the introductory narattion, flares lit up at the back and were augmented by glitter mines. Double ascension girandolas rose into the air, then fell and then rose again. Then another flight of glittering girandolas. These were followed by volleys of shells of comets with glittering pistils and and multiple barrages of shaped-burst shells in the form of red hearts. After these, meteor headed gold comets angled to the left with bombettes of glitter and fireflies above these and shells of glitter comets above these. Then a repeating sequence of comet shells with strobing pistils, mines and meteor comets below, the segment coming to a close with a volley or large silver kamuro shells, trailing to the lake.

Part 4 to the theme music Schindler's List by J. Williams. Blue flares lit up at the back during the narration and then shells of white go-getters and shells of white crossette comets. These were reapeated and followed by shells of white go-getters going very well with the serene music. Huge fans of purple stars were augmented by shells of purple-headed white comets. This theme continued and was followed by shells of glitter comets and blue stars. Next, shells of orange go-getters and shells of crackle and then shells of purple and more orange go-getters. Big orange fans with bombettes above were followed by shells of pale gold comets with pastel heads. Then bombettes of crackle with fans of orange stars in front and mines of orange stars with crackle. A return to the theme of white go-getters and then shells of mixed colour go-getters as a mine of salutes to the left exploded below, surely out of place. The segment came to a close with a barrage of shells of go-getters.

Part 5 to the music Smile by J. Barry. After the narration, a pair of glitter mines and then nautic flares lit up in the lake with the same flares at the back of the display area. A bombardment of gold kamuros was augmented by three fans of bright stars in quick succession, rather too bright for the kamuros. The gold kamuros continued and were then replaced by the same but in a paler gold as flame projectors on ramp 5 licked into the air. Crossed glitter candles and meteor-headed thick gold comets fired as the kamuros continued above and became star-tipped. Many crossed glitter comets below fired as volleys of huge kamuros, some with pistils, fired above and filled the sky as they trailed to the lake. The segment came to a close with particularly large kamuros which exploded into salutes just as the comets were coming towards the ground. A meteor comet candle to the left kept firing a little bit after the end of the segment.

Part 6 to the music Mais que nada by the Tango Girls. More nautical flares lit up with flares at the back after the narration concluded. Then fans of glitter mines as nautic shells exploded in the lake. Above these, fantastic shells of bright colour headed gold comets - each comet a different colour as mines continued below in the centre and more nautic shells burst into the lake. These were followed by large farfalle shells with multi-coloured pistils with candles of tourbillons below. Even large farfalles burst into the air, some with double rings of tourbillons. These were followed by shells of silver crossettes as fans of stars danced to the music below. More shells of crossettes above and large nautic shells below were followed by big fans of colour stars and shells of multi colour stars. This theme was augmented by the same in nautic shells with fines and fantastic contrasting shells of orange and purple, also in nautics. Next the colour theme continued with fans of orange and then purple and more nautic shells. The segment came to a close with very fast paced shots of bright glitter mines with big fans of stars in front and more nautic shells.

Part 7 to the music Duel of the Fates by J. Williams. After the narration, strobes lit up at the back and nautic strobes lit up in the lake. A flight of rockets burst to orange falling leaves which became white strobes. Then another flight of the same in the centre and then again at the right. A huge fan of stars and then shells of blue turning to silver above and very bright fans of meteor comets below. This theme continued and was augmented by shell-of-shells above in colours, then the same in silver comets and in orange also. Angled comet shots on ramp 5 were followed by mines to the left with barrages of large shells of glitter comets above. Then more mines of ramp 5 and huge shell-of-shells of silver comets, filling the sky. Barrage after barrage of the shell-of-shells were followed by whistling serpent mines with shells of blue stars and starfish comets above and barrages of salutes at a lower level. The pace increased with massive barrages of huge shells with mines below, causing me to write wow in my notes as the segment came to an end.

Part 8 to the music Rejoyce by D. Arkenstone. After the narration, a countdown of drums was accented by suspended flash bombs alternating between left and right with the pace increasing as the music did though the synchronization was a little bit off on the really fast part. Then mines fired on ramp 5 on the chord stabs in the music with shells of strobes and comets above. More left and right angled mines on the chords as huge shells of glitter with pistils fired above. Shell-of-shells to crossed silver comets fired above and were followed by enormous shells with pistils and then shells of orange falling leaves. Below these, mines and comets as more shell-of-shells of silver comets fired above. This theme continued and then huge kamuro shells with pistils started to fill the sky. These were replaced by gold niagara falls shells, trailing to the lake in a more serene moment. As the pace quickened again, farfalle shells and mines of serpents and mines of tourbillons as more massive shells with pistils filled the sky. The pace increased further with huge colour changing pistil shells, more shell-of-shells with whistling serpent candles below and then shells of serpents above. These were augmented by fans of stars on ramp 5 and a huge fan in the centre with gold glitter bombettes above and then shells of blue above these with glitter comets at a lower level. Next, huge shells of blue stars turning to white strobes with mine fronts below and more barrage of massive colour shells. The pace increased so much towards the end the sky was filled and many people thought that we were in the finale since it was already 10:32pm. Except that it was only the faux-finale.

Part 9 to the music Back in Town by R. Williams. A final narration with the nautic flares and flares at the back. Big fans of warm coloured stars with the same in shells above were followed by shells of purple and orange as very bright fans of stars fired below with mines of bright glitter. Then big colour mines and shells with salutes as well. Huge shells of comets and pistils with big colour mines below were augmented by massive nautic shells and more barrages of salutes. This theme continued and increased in intensity as ramp 5 added in fans of stars, though only at the left, as the shells continued above. The pace increased further with sky filling barrages of huge colour shells with pistils, barrages of large salutes at one level and different salutes at another level. Dazzling sequences of comets moving in opposite directions in fans and overlapping and then moving apart added to the sky tearing spectacle above. I was unable to take any more notes and simply wrote WOW in large letters. The audience rose to their feet and gave the Spaniards a standing ovation.

This was a great display but was very unfortunately marred by some technical problems, particularly with ramp 5 and the right hand side of ramp 3. Many times there were asymmetries which didn't make sense or just the wrong thing firing at the wrong time. I also expected there to be more fast sequences of comets and mines like I'd seen Caballer do in Valencia but these didn't happen. Whether this was due to the technial problems or not, I'm not sure. However, this said, the quality of the material used was just outstanding with fabulous colours used very artistically throughout - particularly the colour contrasts. And all the colours were extremely pure and bright. Personally, I found the narrative sections were a few seconds too long in each case such that it detracted from the anticipation ebbing and flowing through the display. An excellent display, but I think the technical problems will unfortunately mean that it is not in contention for the Platinum Jupiter.

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Holland Wednesday July 14th, 2004 Invasion of the Colours

JNS Pyrotechniek B.V. [Gold Jupiter, 1995] Designed by Hein Hofmeester and Paul Philipsen, Pyrodigital firing; Show Director choreography; #modules and #cues to be determined

Hailing from Leeuwarden, in northern Holland, pyrotechnical firm JNS Pyrotechniek B.V. was founded in 1821 by the Shuurmans family. Winner of a Gold Jupiter (1995) and a Silver Jupiter (1991) at the Montréal International Fireworks Competition, the Dutch firm has also distinguished itself in several other international competitions. This summer, they present "Invasion of the Colours", a breathtaking and unforgettable pyromusical excursion that will transport audiences into the world of fantasy and science fiction with music from blockbuster films such as Star Wars and E.T.

Despite a portentious weather forecast and a few sprinkles around 8pm, we were graced with perfect weather conditions for the fifth entrant in the competition. JNS have a close association with the Chinese manufacturers Vulcan and Shogun so these companies supplied the material for the display, even including some consumer fireworks. The addition of two 23m high towers promised to add a new dimension to the display. The display used many small pieces of music linked throughout the display by small narrative sections to tell the overall story and this worked very well since the spoken parts were short. The challenge for your reporter was to correctly identify the twenty four tracks used keep the overall flow correct for the report. The links between the sections are indicted with an elipsis (...).

Part 1 to the film music Close Encounters section Signals by J. Williams. The display began with a barrage of strobe shells and fast bursts of glitter mines in the centre with comets as well ...

Part 2 to the film music Sphere section Pandora's Fanfare by E. Goldenthal. Barrages of shells of clusters of falling comets were followed by barrages of shells of clusters of yellow stars and then red. The two towers lit up on their left and right hand side with strobe lances forming diagonals from the top outwards, with the front of the towers and front of the display area lit up in strobes as well giving a good impression of alien lights. Then cakes of stars lit up on ramp 5 and from the tops of the two towers in fans. Above these barrages of shells of go-getters. Next, glitter mines moving from left to right, then right to left and left to right again as more shells of go-getters burst above ...

Part 3 to the film music Signals section Boarding up the House by J. Newton Howard. The towers lit up with incandescent lights in moving lines and large letter A's as shell-of-shells of thousand blooming flowers burst above. These barrages continued in multi-coloured bunches of flowers ...

Part 4 to the film music Tales of a Parallel Universe section Prisoners Transport by M. Simon. Brilliant meteor-headed comet fan candles were augemented by barrages of shell-of-shells bursting to silver falling comets as the meteor-headed comet candles continued below ...

Part 5 to the film music Star Trek section Deep Space Nine by Space & Beyond. Shells of crackling electric comets fired above the towers which shot diagonal comets out of their sides. As these continued, kaleidoscope shells with comet pistils fired above and were followed by barrages of shells of silver flying fish ...

Part 6 to the film music Blade Runner section Tales of the Future by Vangelis. Fat silver comets moved from left to right as falling comet shells burst above ...

Part 7 to the film music Matrix Revolutions section In my Head by Pale. Fans of crackling comets were augmented by diagonal red-headed meteor comets shots. Above these, shells of glitter comets as the crackling comets continued below. Note-synchronized comet shots from the tower in red meteors continued until ...

Part 8 to the TV theme music Space Cadets section Space Cadets March. Shells of comets with pistils were followed by blue shells at a high level with gold broccade shells below these. This theme continued and was followed by shells of willow to blue, then willow to red and then more willow to blue bombettes ...

Part 9 to the film music Superman section Superman Theme by J. Williams. Large red shells were followed by blue shells and bombettes and then large shells of willow turning to red with blue shells below these. Below these fronts of mines at the left and right in sequence ...

Part 10 to the film music Spiderman section Specter of the Goblin by D. Elfman. More mine fronts and the a fast sequence of three mine fronts in succession with meteor comet shots ...

Part 11 to the film music Daredevil section Church Battle by G. Revell. Very fast shots of star clusters from the towers in great synchronization to the music raised cheers from the audience. These continued and were augmented by fast star and comet chases ...

Part 12 to the film music Mortal Combat section Chinese Percussion by G. Clinton. Nice gold firefly comet candles were followed by shells of gold crossettes above as the gold firefly comet candles continued below. These were followed by large silver comet shells breaking dramatically low and loud. These were followed by silver kamuro shells. Then the sound of a cellphone ringing startled many and the narration amusingly had someone say they were busy at the fireworks to cheers and laughs from the audience. Butterfly comet shells with blue pistils were augmented by fat low comets as the shells continued above ...

Part 13 to the film music Star Wars section Cantina Band by J. Williams. Inverted T shaped fountains fired at the top of the towers and a line of silver fountains lit up along ramp 3 as shells of weeping willow turning to stars fireed above. Then large meteor-headed comets with weeping willow shells above these. A new line of fountains lit up as silver kamuro shells fired above ...

Part 14 to the film music Tales of a Parallel Universe section Planet Cruise by M. Simon. A sequence of glittering meteor comets was followed by a left and right moving sequence of silver comets ...

Part 15 to the film music Escape from L.A. section Escape from L.A. by J. Carpenter & A. Howarth. Shells of tourbillons with mines below ...

Part 16 to the film music The Fifth Element section Diva Dance by E. Serra. Mines in threes, then fives and then sevens were followed by shells of tourbillons and shells of crossette comets above. Then the sides of the towers facing each other shot out comets as more shells of tourbillons and silver crossettes fired above. These were followed by shots from the outer facing sides of the tower. After this, mines in a sequence of one, three, five and seven with shells of crossettes above ...

Part 17 to the film music Hollow Man section The Elevator by J. Goldsmith. Shells of triple rings of tourbillons were alternated with shells of serpents. Then shells of red stars and then shells of blue and shells of yellow. Next shells of red stars and comets ...

Part 18 to the film music Signs section Main Titles by J. Goldsmith. Barrages of green shells in different shades of green from dim to more yellow like went well with the narration talking of men from Mars ...

Part 19 to the film music Star Wars section Princess Leia's Theme by J. Williams. A serene line of gold fountains lit up and then fans of gold glitter comets which dripped gold fireflies out of the sides. Above these, willow bombettes as the gold firefly comets continued. Then bright thick comet fans and barrages of very large shells of comets which broke loud and low. Above these, shells of gold charcoal comets and then barrages of broccade shells and then pale gold kamuros trailing to the lake as firefly comets shot from the towers ...

Part 20 to the film music Close Encounters section Parade of the Awoks by J. Williams. Comet fans on the notes and then fast glitter mines on the deep chords worked very well with the music. These were followed by shells of indistinct coloured stars and then shells of red. Next shells of charcoal turning to dim green followed by more indistinct coloured stars. These were followed by barrages of white shells and then shells of red, then blue and then white again ...

Part 21 to the film music Star Wars section Star Wars Theme by J. Williams. Pattern shells in intersecting rings and rings around starfish comets were followed by shells of half one colour and half another with pistils in reverse. Then kaleidoscope shells with the "rays" in alternating colours with strobing pistils. Barrages of the the large bi-colour shells continued and then were followed by shells of glitter turning to colour stars and then more shells with pistils ...

Part 22 to the film music Pirates of the Caribbean section Barbossa is Hungry by K. Badelt. A line of red flares lit up along ramp 3. Cones of rockets bursting to strobes flew up from the left, then from the middlle and then from the right. Angled comet shots at the left and the right were augmented by shells of comets above and then fast sequences of zig-zagging "Z" cakes in increasing numbers from the centre outwards. Above these, shells of broccade and shells of white stars which drowned out the broccades. Barrages of huge low-breaking comet shells were followed by more of the same ...

Part 23 to the film music Pirates of the Caribbean section He's a Pirate by K. Badelt. A line of triple fountains lit up as silver crossette fans fired above and shells of comet to colour above these. Then more large comet shells followed by shells of willow changing to colour. These were followed by fast "Z" cakes of tourbillons with many shots of these. Next, shells of comets to white stars and more "Z" cakes of tourbillons.

Part 24 to the film music E.T. section End-Credits by J. Williams. Shells of crackling comets became barrages as criss-crossing shots from the towers filled in below. Then blue mines, green mines and multi-coloured mines with shells of comets to colour above. These were followed by shells of crackling glitter comets with salutes below these and barrages of the low and loud comet shells. The pace increased with barrages of very large shells and then suddenly massive volleys of huge gold kamuros filling the sky. These continued and became more and more and then suddenly were replaced by silver kamuros, filling the sky and trailing to the lake to cheers from the crowd.

This was an interesting an unusal display with a narrative theme that worked very well. The two towers added a very interesting extra dimension and were used a lot - more than my notes could keep track of. The display was also interesting in that many of the items used on the tower and ramp three were actually consumer goods from the Vulcan and Shogun lines. The very large low breaking comet shells were interesting too and were appreciated by the audience though, it must be said, some of the other shells had dim and indistinct colours and odd-shaped breaks. Most were of high quality though. Humorous touches in the display such as the ringing of the cell phone were very well appreciated by the audience who cheered wildly at the end of the display. Synchronization was pretty good throughout with only minor run-on of some of the cakes. A very enjoyable and innovative display - and very difficult for your reporter to keep up with the many musical tracks!

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China Saturday July 17th, 2004 Dragons and Butterflies

Sunny International Co. Ltd. [Gold Jupiter 1992] Designed by Jim Shih, choreographed by Eric Tucker, Pyrodigital firing; Show Director choreography; 2873 cues

Sunny International is a family firm with more than 15 years of experience in the art of pyrotechnics. At previous appearances at the Montréal International Fireworks Competition in 1992 and 1993, it won a Gold Jupiter and Silver Jupiter. For its fifth visit to Montréal, Sunny International will present "Dragons and Butterflies", a flamboyant Chinese-style pyromusical extravaganza that combines tradition and innovation, and allows Montréal audiences to get a better understanding of Chinese culture.

A late afternoon thunderstorm did nothing to dampen enthusiasm for this highly anticipated display. The weather behaved itself and we were treated to a perfect summer's evening as the Chinese Embassy's Minister gave a speach dreaming of the day when the only gun fire and smoke comes from celebrations with fireworks.

Part 1 to the music Ballad of Picking Tea Leaves. The display began with a front of huge mines and caused gasps of amazement from the audience. Then shells of pink stars above followed by shells of bees at a lower level. Next shells of electric crackling comets with shells of bees below these. This theme continued and was followed by long burning shells of large red stars and then shells of stars with crackling pistils. Fans of stars in the centre with shells of crackling comets above were followed by more of the long burning red shells and then shells and mines of bees. Next huge comet shells and then shells of go-getter comets which appeared to be like a kind of tourbillon. More shells of electric crackling comets and shells with stars and crackling pistils and then a return to the slow burn red shells and then shells of bees below. This theme continued and was followed by mines of bright high comets with meteor headed comet shells above. Then shells of crackling electric comets and a fan of stars in the centre, the segment coming to a close with a barrage of large comet shells.

Part 2 to the music Pupils. Three overlapping fans of comets opened up with shells of strobes above. Then shots of charcoal comets with fireflies and strobe bombettes. Above these, shells of clusters of green falling stars. This theme continued and then a return to the three overlapping fans of comets as shells of comets with strobe pistils fired above. Next, fans of green go-getters with shells of the tourbillon-like go-getters above. This theme continued and then a return to the three fans of comets with strobe shells above. These were followed by shells of gently bursting silver clusters of comets which trailed over like kamuros. Then shells of strobes and shells with comets and strobing pistils followed by a return to the silver kamuro cluster shells. These were followed by shells of crossette comets with cakes of crossettes and strobes below, the segment coming to a close with shells of crossettes and a front of mines of strobes.

Part 3 to the music Orchis Grass. This section began with shells with a blue ring and gold comet pistils which turned into gold niagara falls. Below these, fans of steel-blue headed comets and more niagara falls shells above. Then more of the blue ring and gold comet-to-niagara falls shells with fans of comets below and then shells of gold comets turning to steel blue. Below these, shells of charcoal comets with fireflies and more pale gold niagara falls shells above. This theme continued with more broccade comet to blue shells above and then shells of broccade comets with blue pistils, the segment coming to a close with very high and bright pale gold niagara falls shells trailing to the lake to cheers from the audience.

Part 4 to the music Improvisation Drums. Colour mines fired left and right, then centre, then left and right moving in to the centre getting faster and faster in perfect synchronization with the drums of the soundtrack. Then shells of tourbillons and serpents and barrages of ring shells. Next fans of mines below and then shells of rings of comets with alternating colours between the stars. More shells of serpents and then criss-crossing mine bursts below and a return to barrages of ring shells above. Very tightly synchronized burst of mines in Vs and then the promised pattern shells of three-dimensional cubes above! More fans of mines below and a return to barrages of ring shells and shells of rings of comets above. This theme continued and then shells of multiple intersection rings, the segment coming to a close with a front of mines.

Part 5 to the music Butterfly Lovers. A line of strobes lit up at the back of the display area and then another line of strobes on ramp three. Crossed meteor headed comets were augmented by large silver shells above with pistils turning to strobes. Then shells of go-getters and meteor comet shots angled to the left and then angled to the right. Comet shots on the notes moving from left to right and then increasing in pace to exactly match the fast note runs in the music. Next shells of charcoal firefly comets turning to gold glitter and strobes. These were followed by a sequence of shells of crackling comets trailing to the lake and shells of go-getters and then angled comet shots left and right. More shells of charcoal comet fireflies turning to gold strobes and bursts of comets left and right below. Note sequenced comets with fans of comets in the centre and then shells of gold strobes above. These were followed by huge shells of electric crackling comets trailing to the lake, then the same with pistils and then shells shaped like butterrflies with gold glitter comets and pistils.

Part 6 to the music The Dance Music of Yao. Cakes of comets opened on ramp five with mines of bees on ramp three and above in shells. Then shells of gold comets above with shells of bees below as the music became serene fans of comets on ramp five. Cakes of comets fired behind these and then shells of gold meteor comets and salutes. Cakes of silver crossettes were followed by shells of lemon stars and shells of comets with pistils. These were followed by large shells of crossettes and front of mines brining the segment to a close.

Part 7 to the music Chinese Folk Music. Shells of crossing stars fired with mines below and then shells of the tourbillon-like go-getters. This theme continued and then was followed by large shells with pistils. Shells bursting to titanium salutes were followed by shells of lemon stars and then shells of with pistils and charcoal comets turning to silver. A return to the shells of crossing-stars with mines below and then more shells of go-getter comets above followed by more of the shells of charcoal comets turning to silver with pistils. This sequencing continued, the segment coming to an end with a front of mines.

Part 8 to the music Fung-Yang Drum Dance. Shells of crackle and shells of rings with crackle and blue were followed by shells of blue headed charcoal comets. Next, shells of electric crackling comets with strobe pistils as thick comet fans fired below. Then more shells of electric comets and strobes above and hugh shells of stars with starfish comets. Next, kaleidoscope shells in blue stars and gold comets and then more shells of crackling comets with the same in bombettes below. This theme continued and then shells of gold strobes and fireflies with more shells of blue and crackling comets. Huge shells with strobing pistils were followed by shells of crossette electric comets and strobes, filling the sky. This theme continued with more shells of blue stars and crackling comets and huge shells with pistils and strobes and crossettes, brining the segment to a close.

Part 9 to the music Guangdong Festival Music. A lines of fountains on ramp five lit up, first one, then three, then five and then seven. Comet mine fans in the centre with shells of strobes above and then shells of crossettes above and shots of tourbillons below. Huge shells of stars and firefly comets were augmented by large nautic star shells and then farfalle shells. Next shells with tourbillons and pistils and shells of glitter comets. More nautic shells burst in the lake as shells of comets turning to crossette stars fired above. The pace increased with barrages of huge shells with serpent fans below, causing me to write WOW in my notes.

Part 10 to the music A Life Long Love. Nautic strobes lit up in the lake and were augmented by a fan of trailing charcoal comets in the centre. Then fast fans in twos of charcoal comets and shells of slow falling comets above. The fast fans continued as shells of kamuro like comets trailed above. The fast fans increased in number as the kamuros fired above. More fast fans overlapping in alternating directions as gold kamuros trailed above and then shells of butterfly-shaped gold kamuros, bringing the segment to a close.

Part 11 to the music Army folk song. Shells of blue with pistils and fans of meteor comets below. Then shells of blue turning to gold strobes with pistils. This theme continued and then large shells of orange stars turning to crossettes and the same with steel blue stars. Above these enormous shells of white comets with huge double pistils in orange and blue. The orange and blue theme continued and then a more serene moment with shells of slow falling strobes. The pace then increased with large shells of blue and gold crossettes silver comets and crossettes. Titanium salutes started to fire at a low level as massive barrages of bright shells fired above getting large and higher with dazzling colours as more and more salutes burst. The audience started to cheer as the barrage increased in intensity and I stopped taking notes and wrote WOW in big letters as a final barrage of salutes fired bringing the display to a close.

A fantastic display both in terms of the choreography and the beautiful product used. There were many beautiful shells, especially the fabulous niagara falls shells and the shells of comets turning to different coloured star crossettes (not always noted above due to the complexity of the display). Also memorable were the great colours used. I personally enjoyed the music even though I didn't know any of it and liked the range of rhythm and tempo used from quiet moments to intense ones. The sequenced comets on the note runs in some of the music were very well done and were tastefully executed. The audience gave an enthusiastic standing ovation and could be heard chanting "Eric, Eric, Eric!". An excellent display which was very complex and I fear my report doesn't do justice to. I suspect some will say the finale was just a tad short compared to the Spanish and Italian displays, but that is not a criticism I would make.

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France Wednesday July 21st, 2004 Cinema: Silver Screen, Endless Nights

Société Lacroix-Ruggieri [Gold Jupiter, 1985, 1990 and 2002] Designed by Jean-Paul Costes, Pyrodigital firing; Show Director choreography; ~2300 cues

In 1739, the Italian Ruggieri brothers embarked upon their glamorous career as fireworks experts to Louis XIV. The Lacroix company, for its part, was founded in 1848 in Toulouse, France, by Étienne Lacroix. In 1997, the destinies of these two great fireworks firms crossed and they became Lacroix-Ruggieri. This summer, the firm will delight us with "Cinema: Silver Screen, Endless Nights", a fabulous pyromusical epic during which skypainters will take viewers on a history of the movies.

Perfect summer weather with clear skies and warm temperatures was the setting for the penultimate contestant in this year's competition. The oldest fireworks company in the world created two twelve metre high triple-legged towers at either side of the display area and the display promised to be something special, recalling the famous millenium display in Paris where the Eiffel Tower was used so effectively. A capacity crowd listened enthusiastically to the French Cultural Ataché speak of the magic of cinema, the glorious septième (seventh) art.

Part 1 to music from the film James Bond titled On Her Majesty's Secret Service by Propellerheads. A two minute narration explained the theme of the display and the history of cinema from old black and white movies to the modern era of high-tech special effects. After the narration was over, the display began with huge mines of titanium salutes. Barrage after barrage of these were fired and then pale gold glitter mines were fired in sequence from the roof of ramp 4. After these, large deep blue mines to the left and right with red mintes in the centre and cakes of meteor-headed crossette comets above. These were followed by crossed comets bursting to kamuro bombettes and mines of kamuro comets turning blue. Sequenced comet shots came from the two towers with the blue and red mines continuing in front. After these, bombardments of red, white and blue shells. These were followed by crackling mines with red bombettes above and also cakes of crackling glitter. More and more crackling glitter cakes fired and then comet shots came from the towers as shells of silver kamuro burst above. A return to barrages of red, white and blue shells and then shell-of-shells and huge crackling mines, bringing the segment to a close.

Part 2 to music from the film Mission titled Miserere by E. Morricone. Nautical flares turning to strobes opened up in the lake. A willow bombette cake fired at the left, presumably out of place as shells of strobes fired above, but with a presumably incorrect shell of silver comets. Then a line of silver fountains opened on ramp three with the sides of both towers also firing out silver fountains. Meteor-headed silver comets at various angles from the left and right fired in sequence with a fan of meteor-headed silver comets in the centre on ramp 4. Comet shots from the left of tower 1 and the right of comet 2 fired as the silver fountains on ramp 3 continued. Then a flight of silver girandolas rose into the air as cones of rockets burst into beautiful bouquets of flowers with a barrage of large shells above bringing the segment to a close.

Part 3 to music from the film Pirates of the Caribbean titled Gabriel's Oboe by E. Morricone. A line of willow bombette cakes, except for the one which fired by mistake in the previous segment, began this segment. Then larger weeping willow bombettes above these followed by even more willow bombette cakes. Above these, large shells of blue stars and gold comets followed by shells of green strobes and glitter comets. Glitter comets at the front were augmented by more willow cakes behind with large shells of comets turning to glitter above and then large glitter mines on ramp 4. The segment came to a close with a volley of large gold kamuro shells.

Part 4 to music from the film Amistad titled Dry Your Tears, Afrika by J. Willians. A flight of beautiful double-ascension gold glittering girandolasrose up and down in the air as a line of gold glitter fountains fired in front. Then screaming serpent candles fired as mine blasts came from the sides of the towers. In front of these, meteor-headed comet candles and then yellow-headed meteor comets bursting into bright yellow shells. Angled comets with bombettes above were followed be shells of stars and comets and then shells of multi-coloured stars as serpent mines fired on ramp 4. The segment came to a close with large willow to silver shells.

Part 5 to music from the film Le peuple migrateur titled Le Planeur by B. Coulais. Very low-angled colour-headed meteor comets fired from the left and right as upward comet shots on the notes fired in front. Then very nice kamuro comet mines fired with the same in shells above. The kamuro mines continued below as a cones of rockets bursting to clusters of stars brought the segment to a close.

Part 6 to music from the film E.T. titled Flying by J. Williams. A line of silver wheels (actually cycle wheels - see this picture) started to turn as the sides of the towers began to twinkle with strobes. An incorrectly placed star cake fired at the right as silver comet shots angled left and then right fired in front. Above these, cakes of silver comet bombettes with silver kamuro shells above. Silver comet shots came from the towers as large comet shells fired above and serpent fans rose from ramp 4. This theme continued with more large comet shells and serpent fans on ramp 4, the segment coming to a close with cones of rockets bursting to silver.

Part 7 to music from the film Spiderman titled Main Theme by D. Elfman. Large multibreak red spider shells burst above as screaming serpent candles fired below. The multibreak red spider shells continued above and were followed by large farfalle shells with serpents and comets in. The serpent candles continued below as more huge farfalle shells with stars and comets fired above. These were followed by cakes of crackle and salutes with shells of salutes above. These bombardments continued and were followed by cakes of yellow stars and crackle with shells of salutes and tourbillons above, the segment coming to a close with a volley of huge farfalle shells with comets and stars.

Part 8 to music from the film Twin Peaks titled Falling by A. Badalamenti & J. Cruise. Alternating mines of pink stars and glitter fired on the bass notes of the familiar music. These note-synchronized mines continued as a flight of the beautiful gold glittering double-ascension girandolas rose and fell and then rose again in the air. As the mines continued, another flight of the same girandolas. The mine theme continued as charcoal comet fans trailed from ramp 4 and from the left and right of ramp three on the notes. Then weepeing willow shells burst above and were followed by shells of gold broccade turning to blue stars. Shells of broccade crossettes burst at a low level and were followed by shells of weeping willow turning to blue as the segment came to a close with the note-synchronized mines.

Part 9 to music from the film The Fifth Element titled The Diva Dance by E. Serra. Shells of strobes and a mis-placed silver kamuro shell were followed by more shells of silver strobes and crossed charcoal comets turning to fireflies as the strobe shells continued above. Then strobe mines and more shells of strobes and then strobe bombettes as well. The silver strobes were then replaced by green strobe shells, this theme continuing until the segment came to a close with large mines of strobes.

Part 10 to music from the film The Last Samurai titled Spectres in the Fog by H. Zimmer. A line of gold fountains lit up on ramp three as bursts of glitter comets fired on ramp 4. A line of colour star cakes fired, except for the one that fired earlier by mistake. Then star shells to the left, middle and right followed by volleys of very large tourbillon and star shells above, except for one which flowerpotted. This barrage continued and then cakes of silver crossettes turning red and shells of silver turning to red were followed by large meteor-headed crossette comets above and an out-of-place weeping willow shell, virtually invisible against the bright crossettes. The silver comet crossette shells continued, then red-headed crossettes and then silver again, with massive barrages of these bringing the segment to a close.

Part 11 to music from the film Gladiator titled The Might of Rome by H. Zimmer & L. Gerrard. Nautic fountains lit up in the lake and then shot comets up into the air at the end of their burn. Large fans of silver comets fired on ramp 4 and were augmented by crossed fans of silver comets on ramp three. Then fans of gold comets on ramp three followed by cones of rockets bursting to red stars above. These were followed by "Z" cakes of crackle on ramp 4, then a pair on ramp three and then more and more, getting wider and louder. These were augmented by fans of firefly comets bursting to bombettes of the same as silver kamuro shells fired above. The silver kamuros continued and barrages of salutes were fired as well. Large mine fronts with shells of crossettes were followed by very large silver kamuro shells with pistils, bringing the segment to a close.

Part 12 to music from the film Shaolin Soccer titled Underwear by R. Wong. A sequence of mines was followed by colour-headed meteor comet fans on ramp 4. Then shells of oranged-headed crossettes and cakes of green crossettes on ramp three as the shells of orange-headed crossettes continued above. Then large fat dazzling yellow-headed comets bursting to yellow shells as comets of fireflies fired below and then a return to crossette shells above. Shells of blue and orange stars, kind of half and half and shells of comets fired and were followed by shells of blue and yellow and then a return to the yellow shells. These were followed by very nice cones of rockets bursting to blue clusters followed by fronts of mines below. Then bombettes in red as shells of red and blue burst above and then shells of crossettes. More mines of very bright comets were followed by the large farfalle and comet shells, bringing the segment to a close.

Part 13 to music from the film Harry Potter titled Hedwig's Theme by J. Williams. Strobes lit up at the back of ramp three, then a line of fountains also at the back. Silver fountains lit up one by one on the front of ramp three as silver kamuro shells burst above. Then candles of serpents with silver kamuro bombettes above. Charcoal comets turning to white fireflies fired on ramps three and four as the serpent candles continued and shells of white strobes fired above. This theme continued with firefly comets on ramp four with shells of comets turning to strobes above, bringing the segment to a close.

Part 14 to music from the film Evita titled Don't Cry for Me Argentina by A. Lloyd Webber. Gold glittering nautic fountains lit up in the lake as very serene crossed gold firefly comet candles opened up on ramp 3. Then weeping willow shells fired at a medium height. These continued and then became large and higher. This theme continued and then larger and larger weeping willow shells. The segment came to a close with very large gold broccade shells, trailing through the air. c

Part 15 to music from the film Titanic titled My Heart will Go On by C. Dion. Fans of stars came from the tops of the towers as fans of serpents fired on ramp three. Above these, broccade shells and then weeping willows. These were followed by the nice kamuro comet mines and the same in bombettes and then in shells above. These became larger and larger and included star pistils. Then multi-break shell-of-shells bursting to blue as comet fans fired on ramp three. More shell-of-shells in comets with fans of firefly comets below. Then shell-of-shells in red, then in comets and then strobe bombettes below. These were then augmented by strobe shells above, the segment coming to a close with the huge farfalle and comet shells as the music moved seamless into:

Part 16 to music from the film Batman titled Batman Theme Reprise by D. Elfman. Shells of yellow comets and salutes began. The yellow theme continued and then suddenly became blue as the salute continued. Then the same but in silver comets. Dazzling silver star fans fired on ramp 3 to the amazement of the audience as the bombardments above increased in intensity. Huge silver kamuros stared to fire with barrages of salutes at all levels. The pace increased and the volleys of shells and salutes became thunderous, filling the sky and causing me to write WOW in big letters. Huge shells of tourbillons and comets and shells with pistils also came into the mix as a final volley of salutes brought the display to an end to cheers from the audience.

This was a very enjoyable display with some fabulous product, particularly the wonderful gold glittering girandolas and the cones of rockets. Also beautiful crossette and farfalle-and-comet shells. The two towers were interesting but not as effective as I thought they might be, often obscured by other things on ramp 3, plus tower two caught fire on the right hand side which may have stopped part of it working. As much as the display was good, it was marred by just a few too many small errors, from the wrong cakes in the wrong places, to some of the cakes running on into the next segment and the couple of places where the wrong shells were fired. The two minute narration to dark sky at the beginning was, I felt, too long. Since the theme was cinema, it might have been a good idea to start the display immediatetly after the countdown with, say, the 20th Century Fox fanfare to some shells, then move to flickering strobes for the narration, emphasizing the early beginnings of cinema, all in my humble opinion.

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Germany Saturday July 24th, 2004 Eau de Cologne

Weco Pyrotechnische Fabrik [Gold Jupiter, 2000], designed by Georg Alef, music specially composed by Günter Hässy; FireOne firing, ScriptMaker choreography; ~70 Firing modules and ~2000 cues

The German firm Weco, based in Eitorf, near Cologne, was founded in 1948 by Hermann Weber. Previous participation in the Montréal International Fireworks Competition has won this company a Gold Jupiter in 2000, a Silver Jupiter in 1997 and a Bronze Jupiter in 1996. Its pyromusical odyssey "Eau de Cologne", is an invitation to discover in music and images the majesty and exceptional character of Cologne and Montréal, two wonderful multicultural metropolises that boast hundreds of years of history and customs.

Once again, perfect, though slightly cool, weather was the setting for the final entrant in this year's 20th anniversary competition, making it a year unspoiled by rain or wind. Two large cranes had been called into service to suspend a large waterfall and the outline of Köln Cathedral. A stage, floating in the lake, had also been added for the Junge Sinfonie Köln (Youth Symphony Orchestra of Cologne) so they could give a live performance of Günter Hässy's specially commisioned symphonic poem for the display - a unique event in the history of the competition. A capacity crowd was present to witness this unique spectacle.

Part 1 to music Fireworks Fanfare composed and conducted by Günter Hässy and performed by the Junge Sinfonie Köln. The display began with a line of crossed comets as a set piece spelling out "Eau de Cologne" lit up along the front of ramp three. As this burned, fans of firefly comets with silver kamuro shells above and then shells of white strobes. Next, fans of meteor-headed comets and shells of the same above, followed by red shell-of-shells. Then cakes of silver comets with barrages of red shells above, breaking large and low followed by fans of comets on ramp 5 and then mine fans of ramp 5. This theme continued, in perfect synchronization to the music, with large shells breaking above and then sequenced multibreak shells and mines of strobes on ramp 5, a thematic pause coming with a shell-of-shells of strobe stars.

Part 2 to music Galeane Overture composed and conducted by Günter Hässy and performed by the Junge Sinfonie Köln A short narration introduced the display as a line of white flares lit on ramp 3. Then mines burst from ramp 5 as girandolas rose into the air behind. Above these, shells of multi-colour stars. Then as the orchestra played a glissando on the harp, a note-sequenced line of stars crossed on ramp 3. This continued as shells burst above and was followed by large shells of blue stars and white comets. A flight of double-ascension girandolas rose into the air, then fell, then rose again as fans of charcoal comets fired on ramp 4. Above these, large farfalle shells. Then candles of blue-headed crossed gold glitter with crackle augmented by the same in cakes as large shells of blue crossing-stars burst above. This theme continued and then cakes of go-getter comets and cakes of blue stars with more shells of blue crossing-stars above. These were followed by shells of firefly comets with the same in candles below and then shells of tourbillons. Low angled red-headed comet fans on ramp five fired left and right as fans of crackling bombette cakes fired and were then augmented by larger cakes of silver crossette comets. Fans of mines of ramp three and then sequenced comet fans were augmented by shells of silver crossette comets above. Then three sets of triple mine fans on ramp 3 followed by shells of triple rings above. These continued and were augmented by shells of really thick pale gold comets and then a return to the silver crossette comet shells. Angled comet shots to the left and right were followed by shells of large spinning tourbillons and shells of serpents. These were followed by remarkable shells bursting into butterfly shapes in comets that then wiggled. This theme was repeated several times, particularly the butterfly shells. A return to fans of mines on ramp three and then sky-mines of fast-strobing strobes with crossed comets below. Barrage after barrage of the fast-strobing star mines were followed by shells of firefly comets turning to strobes. These were followed by a flight of double-ascension gold girandolas and then by fans of bright meteor stars on ramp three augmented by cakes of silver crossettes above these. Next, cakes of stars with crackle with shells of comets above and then cakes of silver comets and blue stars. Huge shells of comets and blue stars burst above and were followed by a barrage of titanium salutes. Then massive shells of kamuros with pistil, trailing to the lake and then huge weeping willows. These were followed by shells of yellow comets and then shells with red pistils surrounded by serpents. This theme continued and then volleys of very large blue shells. Fans of mines on ramp three were followed by huge multibreak shell-of-shells bursting to blue stars and gold strobes.

Part 3 to music Schlaraffe Overture, composed for the 50th anniversary of Weco by Günter Hässy and performed by the Junge Sinfonie Köln, Günter Hässy conducting. A ring of vertical red lances in three on poles on the top of ramp 4 lit up as a short narration introduced the next section. Mines and comets on ramp three were followed by "Z" cakes of colour stars with each wave a different colour of the rainbow. As these fired, shells of yellow comets fired above. The Z cakes continued and then were augmented by cakes of bombettes with fans of stars on ramp 4 and comet shots also. Low angled meteor-headed shots from left and right, first in red and then in yellow were followed by cakes of salutes and crackling stars and colour with shells of comets and glitter above. Then very fast cakes of deep blue stars, augmented by silver comet fans and then meteor-headed comet fans as the blue cakes continued. Above these, remarkable shells of go-getters which turned into gold waterfalls. Next, fans of red, blue and green stars and then fans of crossed glitter comets. These were augmented by bombettes of gold broccade. These continued and increased in number as barrages of shells of broccade turning to blue tips fired above. These continued and increased in number also. Then star shots angled to the left and right with green stars shooting straight up from cakes. Then silver meteor comets were added into the mix as the left and right angled star shots continued with the green vertical stars and and now cakes of crackle. Above these, sky-mines of crackling comets. Suddently, very thick and high silver comets at the left and right rising vertically and the same at angles from the left and right and meeting at an apex in the middle. These bright comets continued and then were augmented by silver comet shells above and then huge double ring farfalled shells with blue pistils. Next, barrages of shells of rings of comets and then red rings and then silver rings. This theme continued and was followed by crossed silver star candles with cakes firing bright red stars vertically. Above these, shells of meteor comets and candles of crossette stars below. These were followed by gold weeping willow shells and then shells of pale blue as the crossette star cakes continued below. Next, charcoal comets with fireflies in cakes and shells of gold flash. Gold strobes lit up in vertical lines of three on ramp three and four and turned whiter. Then shells of strobes and shells of gold flashes above augmented by sky-mines of very fast strobing stars and more shells of the gold flash stars. This theme continued with more gold flash shells and sky-mines of fast pink strobes. Next angled star shots left and right and fans of stars. Then shells of broccade comets turning to strobes, with barrages of these. These were followed by shells of tourbillons and gold strobes and then massive triple-ring farfalle shells in gold, this theme continuing and coming to an end with shells of tourbillons and gold strobes.

Part 4 to music Canadian Overture composed specially for this display by Günter Hässy and performed by the Junge Sinfonie Köln, Günter Hässy conducting. A short narration with a line of flares and then several vertical circles lit up in the lake and started to rotate about a vertical axis in the water driven by gold sparks. Then shells of double rings of salutes (siatene shells). These were interspersed with weeping willow shells and then more double-ring salute shells. Back to weeping willows in threes with fans of stars below and more double-ring siatene shells. A line of bright silver wheels lit up on ramp 3, with a line of silver cakes behind and then red stars as well with shells of silver above. These were followed by candles of blue stars and comets with shells of blue above and the same in mines. Crossed stars left and right were followed by more large farfalle shells and then shells of weeping willow ending in silver, trailing to the lake. Meteor comet fans angled left and right were followed by fans of crossed glitter and then low rising comet cakes with stars on ramp three. As these cakes fired, shells of broccade fired above, with more and more and then with pistils. A return to the huge weeping willows turning to silver as they trailed to the lake and then nautic fountains hissed to life in the lake. Then sky mines in silver kamuro waterfalls with barrage after barrage of these filling the sky followed by shells of red strobes. Below these, note-sequenced comets with multibreak shells above. Larger nautic fountains had lit up in the lake as well. Then a flight of silver girandolas and cakes of serpents and double-ended tourbillons. Above these, barrages of very large red shells. The outline of the Köln Cathedral lit up in bright orange lances (a few didn't light unfortunately). Above this, shells of crackle with crackling pistils and then shells of pale broccade. The same in sky-mine waterfall shells and more shells of crackle with crackling pistils. Barrage after barrage of glittering sky-mine waterfalls were followed by blasts from below of screaming serpents and then shell-of-shells of strobe stars. Meteor comet fans on ramp three were followed by more shell-of-shells of strobes and then silver kamuros at a high level. The massive high waterfall suspended above the still-burning outline of Köln Cathedral burst to life and trailed sparks all the way to the ground, forming a silver curtain of fire as the music incorporated the theme from "Oh Canada". Then shells of gold flash stars as the waterfall continued and a move into barrages of gold broccade. The pace increased with more and more barrages of broccade with multi-break shell-of-shells of the same and barrages of titanium salutes and a finale barrages of some massive chest-thumping salutes (surely from IPON!) as huge kamuro and broccade shells trailed to the lake, to cheers from the audience.

This was a fabulous display where the music and fireworks were in perfect harmony. The range of effects used was very wide and the music had all sorts of familar themes, from English Hornpipes to French folk tunes to "Oh Canada", emphasizing the multi-cultural nature of Montreal and Köln. Synchronization was especially impressive considering the music was played live. There were one or two dead moments but nothing to worry about though I did spot the wrong shell in the wrong place a couple of times and a few shells fired after the end of the display. These minor criticisms apart, this was truly a very special display. Regardless of the outcome of the competition, we were fortunate enough to witness a unique spectacle and the team from Weco deserve hearty congratulations for pulling it off so well. I took 42 pages of notes - a good indication of the complexity - so I hope I did the display justice.


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Paul's Rankings for 2004

As expected, this was truly a vintage edition of the competition. Everyone expected something special for the 20th anniversary and we were rewarded with eight fabulous displays - each of which would surely have won the Gold Jupiter in any ordinary year of competition. The weather was perfect for every single display even though it was rather cool at the beginning of the competition. In all the years I've been attending the competition, I think this was the best weather-wise, though in 2001 there were no displays where it actually rained.

We were also rewarded with a very high level of creativity this year, from the two tall towers of the Dutch display, the twin "Eiffel" towers of the French display and the huge waterfall and outline of Cologne Cathedral in the German display. Other creative aspects were in the sequencing and choice of colours and effects in all of the displays giving a level of artistry rarely seen in such profusion.

As usual, I will present a summary of each display and then give my personal rankings together with my prediction for the popular jury's votes. For interest, I've also tabulated how many pages of notes I took down for each display (under "Pages"). Where there is an asterix, it means my notes for the finale were mainly summarized by the word WOW in big wobbly letters. It is also interesting to note that I wrote about 25% more per display compared to last year's record-breaking note taking. This gives an indication of the complexity of this year's displays.

Country

Firing System / cues

Comments

Pages

Spain - Igual Manual with FireOne sequences

This was a beautifully designed and choregraphed display with the computerized sequences working extremely well. I particularly enjoyed the artistry displayed in the Nutcraker Suite section. Very high quality product used, especially the many nautical devices employed. Many other simple but effective artistic touches including the strobing lances tracing the shapes of diamonds. A minor criticism is that the soundtrack didn't necessarily reflect the theme, save for the last song, but a good variation of rhythm and pace nevertheless with a strong faux finale.

30*
Japan PyroDigital / ~5800

The most complex display this year, at least in terms of the number of cues used. The theme was interesting and the music well chosen to represent the theme. Extremely high quality product used throughout, in fact, the best of the competition. The crashing wave mine sequence was well done, though Marutamaya had used this in their last display in Montreal. Very well choreographed throughout with flawless synchronization with the speed of the shots taken to new heights. Some said they found these a little repetitious, but I didn't share this view. Only negative comment is that no use was made of the lake. Easily the best Marutamaya display I've witnessed.

36*
Italy Pyrodigital / 1588

Another flawlessly synchronized display, also with fabulous product. A full range of rhythm and pace from extremely serene (some would say just a bit too serene) to an amazingly intense finale. The theme worked well and we were certainly treated to a Roman Festival. The audience went wild after the incredible finale, though it would be hard to call it pyromusical at that point as the music was inaudible beneath all the salutes! A brilliant display, even better than their Gold Jupiter winning performance of 1997.

45*
Spain - Pirotécnia Vicente Caballer Electronic / ~4000

A very large setup with more candle positions than I've seen in a long time. Beautiful product used throughout with very vivid and bright colours used. Incredible faux finale and a very big real finale. The theme was interesting, but I found the narrative sections just a little bit too long and distracting. A couple of small technical problems and misplaced devices detracted from an otherwise excellent display.

38
Holland PyroDigital / Unknown

Extremely creative display with two 28m high towers forming the heart of the presentation. Used throughout, these were a great asset to the theme. Some people didn't care for the music but I found it worked perfectly with the theme. Hilarious comic touch of a cell phone ringing worked very well. Very creative use of the product available though some of the shells were somewhat indistinct colour-wise. A unique display.

34
China PyroDigital / 2873

A display fully in the Chinese tradition with an excellent soundtrack and flawless synchronization throughout. Very good quality product used with excellent timing causing some to speculate that the shells contained MagicFire electronic igniters. The appearance of dragons and butterflies throughout the display worked perfectly. Some people commented that they didn't care for the music but I personally enjoyed it and thought it worked very well with the type of fireworks used and the theme. Very tastefully choreographed throughout, as close to perfect as it gets.

43*
France PyroDigital / ~2300

Another excellently choreographed and synchronized display also with excellent product. Personally I found the narrative introduction of two minutes just that bit too long but the display itself was very artistically and sensitively executed. A pity that a few minor flaws detracted from the otherwise excellent attention to detail. The two towers employed were innovative but were not as creatively employed as those used in the Dutch display, though this may have been because one of the towers caught fire part way through. Excellent use of cones of rockets and another dazzling finale.

39*
Germany FireOne / ~2000

A unique experience in the history of the competition - the entire display was performed to live, specially composed, music. The synchronization was incredible and the music and fireworks were in perfect harmony throughout. The entire display was very artistically executed with good attention to detail despite a couple of very minor flaws. The music, though unknown to the audience, had familiar themes throughout representing the multi-cultural nature of Cologne and Montreal and, in my opinion, worked extremely well. The huge waterfall and outline of Cologne Cathedral were risky due to the possiblity of smoke accumulation but worked very well. Another unique display.

42



Paul's jury predictions


Paul's personal choice

On the social aspect of the competition, this has been another vintage year. I had the pleasure to welcome many visitors from the United States, Denmark and Mexico. I also was able to meet many people who I'd met for the first time at the 7th International Symposium on Fireworks, held in Valencia in October 2003. Montréal is truly is a great place to meet fellow pyrotechnicians and enthusiasts from all over the world and I'm very grateful to all the dedicated staff at La Ronde who work untold hours to make this competition happen. Many people would be shocked to see how much work is required to pull off this competition so flawlessly every year. So special thanks to Martyne Gagnon, Paul Csukassy, Anne-Marie Desautels, Geneviève Ferron and everyone else whom space doesn't permit me to mention. Once again, you gave me a memorable summer and a chance to indulge my passion.

One final note, just to say that I consider myself a reporter on the competition, not a critic. The combination of fireworks and music excites different people in different ways. My musical tastes are different to other people's and this inevitably influences my enjoyment of a display. This year some displays which I personally really liked, others disliked because of the music. My job, as your humble reporter, is to describe what I saw and report the music used. The Jury has the exceptionally difficult job of deciding just one winner. In fact, all the competitors should be proud of their achievements in gaining entry into the upper echelons of the pyrotechnics world by competing this year. In recognition of this, the organizers gave each team a special Jupiter for their participation. There are no winners and losers, simply one of the eight is judged to be the best of the best. For a different perspective on the displays, take a look at Georges Lamon's web site, Georges is the official critic at La Presse, one of the local french newspapers. His reports are in French, but the on-line translation programs give a good sense of his thoughts.


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Official Results



La Ronde July 28th, 2004 La Ronde Around the World

Panzera S.A.S., designed by Pierpaolo Serafino, music by Piere Walder, traditional electrical firing

In 1985, Panzera S.A.S. was the very first pyrotechnical firm to present a pyromusical display in Quebec. This year, the same Italian firm will present a closing fireworks extravaganza that is not part of the official competition. "La Ronde Around the World" is an extraordinary pyromusical celebration paying very special tribute to all the Gold Jupiter-winning countries of the past 19 years. Spectators will take a tour of Canada, Japan, Italy, the United States and other countries. The official presentation of the coveted Platinum Jupiter will be held prior to this out-of-competition display.

As usual, I didn't take any notes but sat back and watched another enjoyable closing show, marred somewhat by the smoke build-up, by the team from Panzera. As expected, a thundering finale, bringing a vintage season to a close.

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Thanks to the public relations people of La Ronde for the official press release material, shown in white.