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Thank you Gin - I try. As I said, it is YOU who makes the dancers look great - I just capture what I see. With the Waltz of the Flowers, I tried to take a higher-up viewpoint more than usual - then when the dancers twirl, they look like the petals of a flower opening up. Generally though, it's you costumiers who make all the difference. ♥

@@GlynMorgath you saw it, that was what I was trying for, flower petals. Thank you for noticing.

Thank you for your kind words Luna - they mean a lot to us. We missed you - maybe one day..... Blessed Samhain.

Thank you Cayla, your comment is much appreciated. BTW I love your work too.

@@Glynola_Productions Cool. I did do a witch one recently which made me curious so I surfed for other SL witch videos. I love how creative everybody is. Your dance choreography is pretty unique and fun.

All 'action' is captured from my screen while in Second Life - it is not AI or computer generated from a textual description. Each avatar is operated by a real person somewhere in the world in real time - in that sense it is a live show in Second Life - although their dance movements are controlled by a sequence of animations pre-selected by Anu Papp, the show's director & choreographer. In this particular show, some of the animations are getting a bit 'long in the tooth' - the show was originally choreographed a few years ago and the biggest changes/updates made were in the costume choice. Our latest productions use many more 'motion-captured' animations. Thank you for your interest.

@@Glynola_Productions Thank you for the detailed answer, beautiful 👍

Yes, I agree, *you are* - for having left such a mean-spirited comment. Did you even bother to read the notes in the description of this video - they tell you this video was not intended to entertain you. I could easily delete your hurtful comment - but as it says more about you than it does the video - I will leave it for all the world to see. If you can't be nice - or even offer *constructive* criticism - don't bother saying anything at all. If nothing else, you could have said that the music is magnificent.

Lully's music is certainly magnificent.

Thank you!

que que? Read the Description Notes.

So, given a PS5, could you choreograph a dance show with 20 performers spread across the world, with personally designed avatars & costumes set to your own music playlist performing especially selected dance routines in a theatre setting to your own design with a bespoke lighting design? These are the qualities you should be assessing. If you can do better, it shouldn't be too difficult - this was a repeat of an old show using older animations, please do so and send me a link so that I can appreciate your brilliance - and I'll go and buy a PS5. Check out some of our more modern shows.

In 1669 Louis XIV commissioned a very special 'concert' to celebrate the 'Future of France'. One of his favourite costume designers, despite being a hardened Satanist, Jean-François Lemonnier of Poitiers was commanded to make a new type of gown that would allow a danseuse to dance more freely without her gown impeding her leg-movements. His solution was to remove the under-frame and petticoats holding the shape of the outer gown and replace the outer (and now, only) layer with vertical strips, or 'rubans', of (initially) calico (but later, silk of course) painted with ten (yes, ten) layers of the newly discovered latex while draping the fabric over a barrel. Once dried, the 'rubans', once stitched together at the top, would hold their shape unaided whilst allowing great freedom of expression in dance - a great success. His demonic side emerging, Lemonnier introduced an insidious 'temptation' - the ladies' bare legs would briefly show passing between the 'rubans', something designed to inflame lust in the audience and in particular Louis but was hardly acceptable to the dancers who complained about the coldness of the rooms in court. So, Jean-François designed long linen 'leg-sleeves', in the same colour & design as their gowns, in an attempt to preserve their seductiveness while keeping them warm. We would call these 'Glitch Pants' today - but, at the time, they soon became known as *Longue-Jean's* (read it with a French accent) and were loved by the ladies whose descendants would embrace 'leggings' whole-heartedly. Some of his other gown designs used at the concert were not so well received, they were considered too 'futuristic', and were put away for many decades until Lemonnier's great-grandson, Daniel, reintroduced them to the world. I hope that, nevertheless, you enjoyed the modern recreation of the concert - like this reply, it is a work of fantasy & imagination (as mentioned in the notes for the video) and a hallmark of Second Life.

Yes, that is correct, "Te Deum" was composed as a sacred song in 1684 - a good fifteen years after the event depicted in our re-enactment - but it didn't start out that way. Lully composed 7 'intermèdes' for his collaboration with Molière in the 1664 comédie-ballet "La Princesse d'Élide". Molière needed only 6 of them and so the seventh, untitled piece, was set aside for a few years and resurfaced in the event shown *as a dance.* After the event it languished unperformed for over a decade until Lully turned his genius towards sacred music. In much the same that Samuel Barber orchestrated the second movement of his "String Quartet, Op. 11" to create the 1938 version "Adagio for Strings" and then much later on refashioned it yet again to create his 1965 'sacred' choral work "Agnus Dei", so Lully in 1684 refashioned his earlier work to create his great, and almost functionally identical, "Te Deum". As it is impossible to find a recording of Lully's original, untitled piece, I feel it justified to utilize one of his his self-derivative work in this depiction. Am I justified? For some background to this specific event: In 1669, Louis XIV commissioned a very special 'concert' to celebrate the 'Future of France'. He commanded one of his favourite costume designers, Jean-François Lemonnier of Poitiers, to make a new type of gown that would give a 'glimpse of The Shape of Things To Come'. Jean-François sought out the help of Geoffrey Wells of England who had just invented a Time Machine (his great-great-grandson Herbert George Wells wrote about this device much later on). Travelling a hundred years into his future, Jean-François learned about the fashion-styles that would become commonplace in that time, picked up a piece of music "Les Indes Gallantes" (which would not be written by Jean-Philippe Rameau until 20 years after Louis XIV's death), some of the new dance-styles being enjoyed and after another leap forward, a wristwatch for the King. As Rameau was not born until 20 years after the concert, it can only be surmised that a parent or grandparent hummed the tune as a lullaby for the young Jean-Philippe and that long-forgotten memory gave him the inspiration for his 'own' composition. Although all these innovations were much enjoyed by the visionary Sun King (particularly the wristwatch - you can see him admiring it in several scenes), the fashions were not so well received by the courtiers, they were considered too 'futuristic', and were put away for many decades until Lemonnier's great-grandson, Daniel, reintroduced them to the world (as they will be again in the 23rd Century). The music remains as timeless as anything can. We do not know what happened to the wristwatch - maybe it was disposed-of when the battery died - fitting for something from a disposable world. I hope that you enjoyed the modern recreation of the concert - like this reply, it is a work of fantasy & imagination (as mentioned in the notes for the video). 'Second Life' is a world built on Imagination and Inspiration.

That is correct. In 1669 Louis XIV commissioned a very special 'concert' to celebrate the 'Future of France'. He commanded one of his favourite costume designers, Jean-François Lemonnier of Poitiers, to make a new type of gown that would give a 'glimpse of The Shape of Things To Come'. Jean-François sought out the help of Geoffrey Wells of England who had just invented a Time Machine (his great-great-grandson Herbert George Wells wrote about this device much later on). Travelling a hundred years into his future, Jean-François learned about the fashion-styles that would become commonplace in that time, picked up a piece of music "Les Indes Gallantes" (which would not be written by Jean-Philippe Rameau until 20 years after Louis XIV's death), some of the new dance-styles being enjoyed and after another leap forward, a wristwatch for the King. As Rameau was not born until 20 years after the concert, it can only be surmised that a parent or grandparent hummed the tune as a lullaby for the young Jean-Philippe and that long-forgotten memory gave him the inspiration for his 'own' composition. Although all these innovations were much enjoyed by the visionary Sun King (particularly the wristwatch - you can see him admiring it in several scenes), the fashions were not so well received by the courtiers, they were considered too 'futuristic', and were put away for many decades until Lemonnier's great-grandson, Daniel, reintroduced them to the world (as they will be again in the 23rd Century). The music remains as timeless as anything can. We do not know what happened to the wristwatch - maybe it was disposed-of when the battery died - fitting for something from a disposable world. I hope that you enjoyed the modern recreation of the concert - like this reply, it is a work of fantasy & imagination (as mentioned in the notes for the video).

No, it's not - it's CGI. Every element of this performance is determined by human intelligence - only the actual rendering as a 3D scene is left for the computer to generate. The short dance animations are either hand-crafted or motion-captured - these are then assembled into dance routines for the CGI characters (avatars) to 'perform'. The appearance of the avatars is a combination of Anu's specified outfits (often hand-crafted by one of the Muse team - even down to choosing the weight and flexibility of the material) and each individual operator's choice of body, face and skin - each tweaked to the operator's preference. The set is a combination of items purchased from specialized creators or hand-crafted items by Anu herself. The whole is choreographed by Anu to music of her choice. The 2024 version of this show (see notes) has been given an overhaul, with new costumes and a few other changes.

Thank you and in which case you might enjoy our "Symphonic Tales" show th-cam.com/video/6Xm7HTRcdK4/w-d-xo.html but it's a whole hour long - or our shorter "Contrasts" trailer th-cam.com/video/gYKhiJ15Xrg/w-d-xo.html

and thank YOU for your very kind words - they are much appreciated.

or maybe Californian? Indian style for Western ears ! Glad you liked it though.

Thank you Lulu for your very encouraging words. You may be interested to know that Anu (in collaboration with another) has recreated Le Petit Trianon, and its gardens, built by Louis XV and used by Marie-Antoinette. We haven't had a ball there as yet but I did make a short video woven around a couple of characters engaged in a secret tryst but is designed to show some of the major elements of that build. You can see it here: th-cam.com/video/YaPtIsF5l9E/w-d-xo.html - sorry it does not use music of the period. Another, more artistic videographer than I, also made a lovely little video that you can see here: th-cam.com/video/mQHKhJFgwBA/w-d-xo.html I hope you enjoy.

@@Glynola_Productions Thank you, very beautiful garden and palace scene, full of romance, I really enjoying these 3D animation very much❤️💐

I'm glad you like it - thank you for your kind response.

Thank you ♥

Merci beaucoup