»Die Schöne und das Biest«, 2026 in Wien, kann man für das Orchester, wenn man so möchte, als Streicher-Fadeout mit Glissando betrachten. Im Creative Team haben wir mit Christoph Buskies einen in der Branche bekannten Erfinder. Er hat »KeyComp« entwickelt, »a revolutionary, keyboard-driven system that enables a single player to produce the sound and dynamics of a full-sized, live orchestra with an unparalleled level of detail and control«. Die Richtung stimmt, aus Sicht der Exit-Strategen.
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Technology in S.F.’s ‘Frozen’ reduces musicians in live performances, but at what cost to audiences?
KeyComp has been used in Europe for years, and the benefit it provides for producers is clear: They can get sound that’s better than most synthesizers without hiring more musicians. But members of the American Federation of Musicians union are concerned about the economic impact of KeyComp — especially on its subgroup, the Theatre Musicians Association, which has 565 members nationwide.
“It may eventually threaten the continued employment of nearly all theatrical musicians, local and touring alike,” AFM International President Ray Hair said in a statement to The Chronicle. He added that the union will continue to work “to win better economic terms and protections against further erosion of employment from reduced orchestrations and the use of electronic devices.”

Link
San Francisco Chronicle