Rio opens Olympics with colors, curves and coolnesses

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It may not have had the power and glamor of Beijing 2008 or the sophisticated elegance of London 2012. But Rio de Janeiro showed that low budget could be high impact as it delivered an Olympic opening ceremony that will long be remembered for its color, imagination, passion and profound message ofes hope. - Gas Burner

 

Some 21 million US dollars were spent on the four-hour extravaganza at the Maracana stadium, about half London's outlay four years ago. During the week the show's executive producer, Marco Balich, said the figure was irrelevant, vowing the creativity of his production team would ensure Rio's curtain-raiser was the "coolest" in history. The 54-year-old Italian, participating in his 17th Olympic opening and closing ceremony, was as good as his word.

 

The ceremony began with a two-minute video showing how sports are an integral part of Rio's lifestyle, where nature andes urban life coexist in harmony. The video was accompanied by the song "Aquele Abraco", That Hug, composed bossa nova legend Gilberto Gil. The song, performed here by Luiz Melodia, was seen as a symbol of the struggle against Brazil's military dictatorship.

 

The focus then turned to the center of the stadium where silver-clad performers reproduced a pattern created by Athos Bulcao, whose work is widely seen to reflect the founding elements of Brazil's culture, with its African and Portuguese roots. Giant waves were created by the movement of some 250 metallic sheets along with the music Samba de Verao, or Summer Samba. - esIgnition Electrode

 

It was followed by a countdown in which the squares were inflated by their own movement. The sheets turned into giant cushions, which percussionists hit to perform a drumming "batucada". In the center of the stage a design of a tree was raised, symbolizing peace with the earth.

 

The main element used in the segment was the Abrigo, developed by Rio artist Franklin Cassaro. The "peace with the planet" symbol was designed by cartoonist and writer Ziraldo.

 

Warm applause reverberated around the stadium as International Olympic Committee president Thomas Bach was introduced.

 

Samba composer andes lyricist Paulinho Da Viola then performed a delicate and stirring version of the national anthem along with a small string orchestra. Meanwhile a group of Brazilian athletes, old and young, waved the Brazilian flag on a curved stage, inspired by the renowned architect Oscar Niemeyer. Among the experienced athletes involved were Robson Caetano, Fernanda Venturini, Giovane Gavio and Maurren Maggi.

 

The next section was dedicated to the Amazon region, home to the world's largest rainforest. Producers recreated the "birth of life" with a three-dimensional projection of micro-organisms that moved frenetically and divided among themselves. Microbes, represented by large kinetic sculptures, fluttered across the stage. Then a giant forest filled the center of the stadium.

 

Two indigenous groups, interpreted by Parintins Festival dancers, emerged from the converged shadow of yellow butterflies. The groups recreated patternses of their art, performing their native dances while holding elastic bands that formed giant huts, known as ocas.

 

The audience remained captivated as acrobats simulating the movements of ships in a storm took over the scene. The performers represented three mechanical Caravels arriving in Brazil after crossing unchartered waters. Upon reaching the center of the stage they were surrounded by indigenous tribes, their movement having left a visible trail on the landscape.

 

Slavery endured for almost four centuries in Brazil and their story was not forgotten here. Wheels and sticks symbolized plows as artists portrayed shackled slaves at work. The projected forest gave way to designs of sugarcane plantations, showing how industrial development has shaped Brazil's terrain.