Samson, Lost Baroque Opera, Reimagined with HOLOPHONIX, Amadeus Audio SystemsFollowing its debut at the Festival d'Aix-en-Provence in July 2024, the opera Samson recently played at Partis' Opera-Comique. Conceived by conductor Raphael Pichon and director Claus Guth, this production reimagines Jean-Philippe Rameau's lost 1734 work, not as a reconstruction but as a bold reinterpretation -- one where sound design plays a defining role in creating a contemporary auditory experience. The opera featured a sound system powered by the HOLOPHONIX processor and Amadeus loudspeakers. Designed to create an immersive and precise soundscape, the system integrated live orchestration with dynamic three-dimensional audio effects. Sound designer Mathis Nitschke built on specially recorded percussion samples, captured in Munich with the exceptional percussionist Mathias Lachenmayr. "We drew inspiration from the historical tradition of percussionists in early music, who often crafted their own instruments to produce a variety of unique sounds," Nitschke says. "Many of Samson's deep infrasonic rumbles come from timpani tuned extremely low and played with a 'superball' mallet. We applied similar techniques to 'thunder sheets' and metallic elements, which are also played live by the orchestra's percussionist. This live integration allows the sound design to connect seamlessly with Rameau's music." Unlike the open-air challenges of Aix-en-Provence, the enclosed space of the Opera-Comique provides an ideal setting for precise sound distribution. The HOLOPHONIX spatialization processor employs advanced 3D wave field synthesis to position sound sources accurately within the space, ensuring a balanced and enveloping auditory experience for every audience member. The system includes over 40 Amadeus loudspeakers, featuring models from the C Series and PMX Series. These speakers offer controlled directivity while integrating discreetly into the Opera-Comique theater's architecture. The combination of the HOLOPHONIX processor and Amadeus speakers creates an organic blend of active acoustics and sound amplification, refining the venue's natural sound properties while reinforcing key sonic elements. The electro-acoustic system deployed for Samson at the Opera-Comique was precisely designed to deliver an immersive, spatially coherent listening experience across the entire venue. The main front-of-house system comprised eight Amadeus C15-90 loudspeakers, flown above the orchestra pit and evenly spaced to provide a consistent front-stage image. A distributed surround system of 12 Amadeus C12-80 units enveloped the audience, with four additional C12-80 speakers discreetly embedded within the stage decor, allowing for seamless integration of sound and scenography. To support low-frequency energy and infrasonic effects, two Amadeus ABB 18 subwoofers were positioned in the stage-level loggias, delivering precise low-frequency effects extension without overwhelming the room. Particularly noteworthy was the custom-designed spatial front-fill system, composed of 16 Amadeus PMX 5 MKIV speakers. Installed along the front of the stage, these speakers were carefully housed within a long wooden structure meticulously crafted by the Opera-Comique's in-house carpenters. Based on wave field synthesis (WFS) principles, the system reconstructed virtual sound sources across the width of the stage using precise delay and amplitude control for each speaker. This advanced spatial technique ensured that the sound remains anchored to the visual action onstage, eliminating localization artifacts, enhancing intelligibility, and preserving a natural auditory perspective for every listener, including those in the front rows who are typically acoustically underserved. "The HOLOPHONIX system was crucial in shaping Samson's spatial dimension," Nitschke adds. "As is often the case, spatialization is most powerful when it goes unnoticed. Of course, there are dramatic moments where sound design surrounds and overwhelms the audience. But the true beauty of the HOLOPHONIX system revealed itself in the offstage chorus. The singers were positioned in a confined space behind the stage, which initially sounded weak and narrow. By using microphones and 'folding' their sound around the stage, we transformed the experience. Suddenly, the chorus felt expansive, as if it were emerging organically from the stage itself, filling the entire width of the space and enveloping the stage action." The historic Opera-Comique presents unique acoustic challenges, with distinct sound responses across the orchestra seating, upper balcony, and under-balcony areas. To address this, the production utilized a sophisticated speaker configuration, including a C15 array above the stage, subwoofers (A2 or A4), and carefully placed surround speakers. Unlike in Aix-en-Provence, where speakers were camouflaged, the controlled lighting of Opera-Comique allows for standard black-finish speakers without aesthetic compromise. "The audience was thrilled, and the feedback was overwhelmingly positive," says Aurelie Granier, technical manager of the audiovisual department at Aix-en-Provence. "This opera, with its combination of sound and visual effects, had a highly cinematic aesthetic that amplified the emotional impact and added real dramaturgical value to the performance." "In all seriousness, I cannot praise the collaboration enough," Nitschke says. "It began with the system design consulting by Gaetan Byk and was beautifully realized through the programming and tuning by Clement Vallon and Adrien Zanni. At every stage, I was impressed by their understanding of theatre production needs and workflows. The synergy between the HOLOPHONIX team and the opera's sound technicians was exceptional-smooth, efficient, and truly appreciated by all." (At HOLOPHONIX, Zanni is the head of R&D and Vallon is an engineer and product manager.) The HOLOPHONIX processor, developed in collaboration with IRCAM and CNRS, has already been integrated into such institutions such as the Comedie-Francaise, Theatre National de Chaillot, and La Scala Paris. "With Samson, we demonstrate how spatial sound technologies and electro-acoustic enhancements can elevate artistic expression," says Byk, president of Amadeus and creator of the HOLOPHONIX brand. "Our collaboration with the Festival d'Aix-en-Provence and Opera-Comique represents a significant step in merging cutting-edge technology with live classical performance." "To be honest, I didn't see much need for elaborate 3D audio systems in theatre before I worked with HOLOPHONIX," Nitschke admits. "I was content with my surround workflows and feared the added complexity. But after this experience? Whenever possible, I will ask for HOLOPHONIX in future productions." Amadeus speaker and HOLOPHONIX equipment list highlights: *Amadeus C15-90: eight units
*Amadeus C12-80: 16 units
*Amadeus ABB 18: two units
*Amadeus PMX 5 MKIV: 16 units
*Powersoft Ottocanali 4K4 DSP+DANTE: two units
*Powersoft Ottocanali 8K4 DSP+DANTE: three units
*Powersoft T604: three units
*HOLOPHONIX ultra spatialization processor: one unit 
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