KAMELOT Ask Fans To Vote For "Opera Rock Show Treatment" Next Year 
KAMELOT have issued the following update:
"The Opera Rock Show in Hungary are doing a poll as to which artist should get the Opera Rock Show treatment in Hungary next.
THERION have done it, it's
EPICA's turn now (Oliver Palotai is arranging the orchestra parts).
Vote Kamelot for next year at
this location."
Thanks,
Kamelot
As previously reported, Epica will play a special show under the banner Classical Conspiracy on June 14th at Miskolc International Opera Festival in Hungary. The band will perform classical pieces from Mozart, Dvorak, Verdi, Orff, Prokofiev, Grieg, Vivaldi and symphonic versions of their own songs. Kamelot keyboardist has taken part in arranging Epica's songs for symphonic orchestration. The following is an excerpt from an interview with the event organizers:
Q: What do you think about Opera-Rock Show, where metal bands can play with orchestra and choir?
Oliver: "I’ve participated and arranged already before for similar shows. When it’s done well it can give the music of a band a surprising twist and present it in a new and unusual way. But I must also say that I’ve heard bands with symphonic orchestras where that concept was worked out pretty dull."
Q: Do you like this style, symphonic metal?
Oliver: "I like certain bands out of this genre. Of course not all of them. If it’s getting too bombastic it’s usually not my cup of tea."
Q: How do you make the scores for the orchestra and the choir? Please describe your creative process from the first step to the last one.
Oliver: "Before I begin with the first song I prepare a kind of master document based on the instrumentation of the orchestra. Then my work depends if I am hired as an arranger or notator or both. In both cases I import any available data- for example MIDI files - into my notation software. Most bands don’t have the financial possibilities to record with real instruments – they use samples and you need a certain procedure to work with those samples – called MIDI. Then the real work begins. I go note by note through every score, every instrument, add dynamic- and articulation signs, I correct pitches and mistakes. Sometimes I create new parts for instruments when I have the feeling the music needs it. For this kind of work you need to know exactly how every instrument works. Naturally I can’t play every instrument – in my life so far I’ve learned piano, guitar and bass, in the past I played flutes and the violin. The rest I had to study using books and talking to instrumentalists."
Go to
this location for the complete interview.
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