En fest för ABBA On Saturday, April 6, 20:00, we broadcast live on SVT Play, on SVT1 and on Sveriges Radio P4.
I have a question about tickets.
All ticket questions are handled by Cirkus at cirkus.se.
However, we are not planning any English subtitles.
Will you be able to watch the broadcast abroad?
Yes, our ambition is to have the rights worldwide at are Play-service, SVT Play.
Who will perform?
We have invited some of Sweden's most prominent artists, a 21-piece band and a gigantic choir. Our plan is to introduce all guests at a later date.
----------------------------------------------
Lördag 6 april är på dagen 50 år sedan ABBA:s historiska vinst i Eurovision Song Contest i Brighton. Genombrottet var monumentalt och förändrade svensk musik för alltid. Nu bjuder SVT in några av Sveriges mest framstående artister, ett 21-mannaband och en gigantisk kör för att fira detta jubileum. Musikaliska hyllningar blandas med tillbakablickar, med aldrig tidigare visat material, och hälsningar från hela världen. Det blir en kväll full av musik, skratt, överraskningar och nostalgi. En folkfest och hyllning till ABBA och musiken som varit vårt soundtrack i 50 år. Välkommen att fira med oss!
Evenemanget produceras av Sveriges Television och sänds live i SVT Play, SVT1 samt i Sveriges Radio P4.
***********************************
El sábado, 6 de abril es el día 50 años desde la histórica victoria de ABBA en el Festival de la Canción de Eurovisión en Brighton. El avance fue monumental y cambió la música sueca para siempre. Ahora SVT invita a algunos de los artistas más prominentes de Suecia, una banda de 21 hombres y un coro gigantesco a celebrar este aniversario. Los tributos musicales se mezclan con flashbacks, con material nunca visto y saludos de todo el mundo. Será una noche llena de música, risas, sorpresas y nostalgia. Una fiesta folk y homenaje a ABBA y a la música que ha sido nuestra banda sonora durante 50 años. ¡Bienvenido a celebrar con nosotros!
El evento es producido por la televisión de Suecia y transmitido en vivo en SVT Play, SVT1 y en Radio P4 de Suecia
4 ene 2024
ABBA rocked the entertainment world in 2021 when they announced they would be returning to action with a brand new album and live show, for the first time in over 40 years! The “comeback” performance, ABBA Voyage, is a nightly entertainment experience with the format of a live concert. In this case, the “live” performers are holograms of the ABBA band members created with motion capture technology. A live band accompanies the show along with immersive light, laser, and audio effects housed inside a bespoke, temporary, and reusable arena.
In partnership with Stufish, we contributed to the initial aspects of the technical design and on the acoustics of the building enclosure throughout the design and construction phases. Advising on sound separation, room acoustics and noise control for the arena from very early in the design process, it was an exciting and highly technical project to be involved with from conception through to completion.
The “comeback” performance, ABBA Voyage, is a nightly entertainment experience with the format of a live concert. In this case, the “live” performers are holograms of the ABBA band members created with motion capture technology. A live band accompanies the show along with immersive light, laser, and audio effects housed inside a bespoke, temporary, and reusable arena.
Charcoalblue were delighted to be appointed as the building-wide acoustic designers on this iconic new development. Advising on sound separation, room acoustics and noise control for the Arena from very early in the design process, it was an exciting and highly technical project to be involved with from conception through to completion. At the centre of the brief, the ABBA Arena was set to be the world’s largest demountable and transportable concert venue, and as a result, has been developed using mostly lightweight and sustainable interlocking materials; the main structure built from steel and timber, with extensive use of CLT (cross-laminated timber) the front of house spaces. The building has been designed and built to be flat-packed and relocated to another city, once its 5-year tenure in East London ends and by using these materials, no additional materials will have to be used to create the venue again. Further to this requirement for transportability, the East London site is in a mixed commercial & residential area near the Pudding Mill Lane DLR station, so the auditorium has been designed to a very high acoustic specification, that allows both minimum distraction from intrusive environmental noise and a negligible noise impact to the neighbouring noise-sensitive areas, situated a mere 65m away from its façade. The 3,000-capacity, 5,000m2 GIA purpose-built venue to house their cutting-edge virtual 3D show (designed by none other than George Lucas’ Industrial Light & Magic) opened in May 2022 in East London, and is nothing short of an engineering marvel. Abba Arena exterior. Charcoalblue worked closely with the design and construction teams, led by Stufish, and developed a twin-skin building structure where the inner and outer layers are decoupled by vibration isolators and resilient materials. Careful detailing was implemented to ensure there are no rigid connections between the inner and outer skins, thus increasing the overall acoustic performance of the auditorium envelope. The roof cassettes and modular wall panels, along with every building penetration and door, have carefully detailed acoustic seals. In a show as ground-breaking as this, we’re pleased to provide some of the more invisible innovation that makes it possible. Project Details
Client: Aniara Ltd.
Architect: Stufish Entertainment Architects
Budget: Confidential
Thank you for the music: how will live concerts evolve in the Augmented Age?
Oct 17, 2022
Nick Bolton, CEO, discusses how live concerts could evolve in the
17 October 2022 - Digital transformation is impacting almost every dimension of our world and the live music industry is no exception. The innovative adoption of motion capture technology has enabled the realisation of cutting edge, creative ideas and developments for live performances.
The live concert industry has always been quick to adopt technological change - just look at how virtual performances have evolved from the first experimentations by South Korean boy band H.O.T., to the critically acclaimed ABBA Voyage Experience. It was back in 1998 when H.O.T. became the first to experiment with holographic performances, aiming to appear in multiple locations at once on their world tour. The technology continued to develop so that 2Pac could appear posthumously with his holographic appearance at Coachella 2012, where one video of the performance amassed over 57 million views on YouTubei, his album sales increased 500% and downloads of his song 'Hail Mary' rose 1,500%ii. Not only this, but a 2015 live music video performance by Japanese pop group, Perfume at SXSW, which seamlessly combined live footage of the trio performing with motion captured 3D avatars, was described by Wired as an “ecstatic vision beamed back from a future in which the physical and digital have converged to the point of being utterly indistinguishable”iii - truly the blurring of the physical and virtual worlds.
Concerts are now being performed by avatars of the musicians, to critical acclaim. The best example of this in action is the ABBA Voyage experience.
The momentum was building for augmented projects. The announcement of Elton John’s Farewell Yellow Brick Road tour with a virtual reality experience in 2018, showed key moments over his 50-year career. To create a true to life performance, Elton was motion captured by Vicon customer, House of Moves, ensuring the moves of ‘digital Elton’ stayed trueiv. The Farewell Yellow Brick Road tour announcement and the ABBA Voyage Experience were both underway before 2020. However, the outbreak of the coronavirus pandemic accelerated musicians’ readiness, and indeed, the readiness of fans, to embrace this technology on a wider scale, moving the industry into the next era.
As we move into the Augmented Age, where machines and humans partner to achieve what neither can do alone, concerts are now being performed by avatars of the musicians, to critical acclaim. The best example of this in action is the ABBA Voyage experience. The band members, Agnetha, Anni-Frid, Benny, and Björn, were tracked using motion capture as they performed their set to perfection over the course of five weeks. The motion measurement sensors and software captured every idiosyncrasy, every mannerism, emotion, enabling Vicon customer, Industrial Light & Magicv to merge the physical and the digital and create the band just as they performed in 1979, not as hollow images, but avatars, virtual twins of the artists, complete with the performers’ real essence and emotions.
A study conducted by Middlesex University reported that 95% of fans surveyed said that emotional engagement from the artist during live stream concerts is important to themvi. The commercial and critical success of the ABBA Voyage experience is testament to the fact that this emotional engagement has been achieved, with motion measurement technology at the very core of the operation.
We are already seeing consumers embrace this digital format in the live music industry, as the possibilities enabled by motion measurement begin to crystallise. Now, what leaps out is the potential longevity of these augmented concerts. Virtual concerts allow concertgoers to experience the greatest performances of their favourite bands and musicians, past and present. The performance possibilities are truly exciting, as we have seen with ABBA, bands like the Rolling Stones can be immortalised, even Oasis could be reunited onstage. The sense and analysis capabilities which form the backbone of these projects are there, how they will be applied to transform the future of the live concert industry will be determined by the imaginations and creative genius of the digital artists, technicians, and performers. What once seemed a possibility in the distant future is now being realised before our eyes in the Augmented Age of the present, enabled by developments in motion measurement technology.
i YouTube, Tupac Hologram Snoop Dogg and Dr. Dre Perform Coachella Live 2012, 18 April 2012
ii Digital Domain, Virtual Tupac
iii Wired, Hot Damn, This Concert Is Straight Out of the Future, 23 March 2015
iv fxguide, Digital VR Elton, 28 January 2018
v YouTube, ABBA Voyage: The Journey Is About To Begin, 2021
vi King’s College London, Research finds live streamed concerts are here to stay post-pandemic, 14 May 2021
Travel Weekly has reported extensively how AI may impact travel planning and booking. On a trip to the U.K. this month, I looked at how it's affecting tourism experiences, as well.
Seeking a little contrast, I divided time between tradition-bound enclaves and some attractions whose foundation was frontline technology.
To American eyes, the U.K. is particularly rich with tradition, and I could think of fewer places near London that revel in custom more than Cambridge and Oxford. I planned daytrips to each.
In Cambridge, I met up with John Shears. He's an authority in a certain realm of past English endeavors -- polar exploration -- but also recently employed highly advanced technology as expedition leader of the mission that found Antarctic explorer Ernest Shackleton's ship, Endurance, in the depths of the Weddell Sea last year.
We arranged to meet at Cambridge's Scott Polar Research Institute, named for the Antarctic explorer Robert Falcon Scott, at precisely 10:30 a.m. The timing was not coincidental; that's when, each morning, a ship's bell is rung and the staff gathers for tea or coffee. While this custom (minus the ship's bell) was routine in American institutions in the not-too-distant past, it has been more recently cast aside in favor of a quick Starbucks run. The 10:30 gathering of colleagues at the institute seemed a curiously quaint and quintessentially British ritual.
As we wandered through the institute's multistory library containing thousands of volumes related to polar exploration, many old and rare, I didn't see a computer in sight. Was the collection digitized? I asked. It has not been.
Although the library requires permission to enter, the building also houses a small museum visited by 50,000 people annually. Even before going in, one walks past a sculpture created by Scott's widow, Kathleen, then enters beneath a bust of Shackleton into a small hall embedded with architectural details related to exploration in the arctic regions. The museum is polar-nerd heaven.
That night, back in London, my inner tech nerd -- or, I guess, just nerd -- emerged. I had bought a ticket for "ABBA Voyage," a somewhat disorienting journey into an almost purely artificial world. In a purpose-built theater, ABBA Arena, the 1970s Swedish pop group gives a 90-minute concert without any members of the group actually present.
The groups' four members come alive, seemingly human-size and in three dimensions, on densely pixilated LED screens, their movements in sync with enhanced concert footage displayed on giant screens. The entire experience is not unlike a typical arena concert. A creative 360-degree light show augments the songs. The effect is surreal, but real enough that the audience applauds and even stomps its feet for an encore, which it gets. I wasn't sure which was more mystifying, the onstage "ABBAtars" or the audience.
The next day, another friend, a professor at Oxford, walked me through Jesus College, whose centuries-old chambers seemed straight out of a "Harry Potter" book. Among the items displayed in its library is T.E. Lawrence's (Lawrence of Arabia) dissertation on Middle Eastern military architecture, complete with penciled notes in the margins. Although the tour represented submergence in another era, it was a familiar reality, requiring less cognitive adjustment than the interior of ABBA Arena.

Inside the "Beyond Reality" gallery at London's Frameless experience. Photo Credit: Arnie Weissmann
From there, back to London and "Frameless," a permanent art exhibit with no paintings or sculptures. It's a series of galleries, each featuring a different artistic genre. It's among the growing collection of attractions described as "immersive," from Las Vegas' new Sphere to the city's ever-expanding Area 15 complex.
"Frameless" is a technological and design marvel. It has four thematic galleries that together animate 42 paintings. The galleries have no wasted space, with floors, walls and sometimes ceilings becoming the canvas for moving, and occasionally interactive, imagery.
The collected art passes through you rather than the other way around. Images flow, dissolve, throb and explode. In one gallery, after a wall-size masterpiece shatters into shards on the floor, you can kick the debris, scattering flakes of colored light like autumn leaves as you move.
Princess Cruises' president, John Padgett, speaking at the Phocuswright Conference this week, said technology should be employed as a facilitator of personalized, up-to-the-moment experiences at scale. Technology is not the point, he said. Experience is.
I did unsuccessfully inquire whether "Frameless" employed AI, but the platform is beside the point: The technology behind both "ABBA Voyage" and "Frameless" can't be separated from the wow factor. The experience of cutting-edge innovation becomes part of the story that's repeated. I doubt Padgett would be upset if guests returning from a Princess cruise weave the high-tech wonders of the Ocean Medallion into their vacation tales.
Immersive experiences will not overcome interest in tradition and the past, whose remnants, still in use or dormant, often reflect earlier stages of trailblazing technology. Whether examining Shackleton's self-designed boots or seeing the clock turned back on Agnetha, Benny, Bjorn and Anni-Frid, technology and experience have become inseparable.
A great talk about songwriting with the master. Thank you for the wisdom and, indeed, the music,
Björn with Bent Van Looy
Björn Ulvaeus (ABBA) preocupado por la IA: "Tengo miedo de la música en la que no interviene un ser humano"
Björn Ulvaeus, vino a Bruselas para abogar por un mayor respeto de los derechos de autor de los músicos, en tiempos del streaming y de la IA (inteligencia artificial). Bent Van Looy pudo entablar una conversación exclusiva con el compositor sueco. En él, Ulvaeus expresaba su preocupación por el impacto que la IA puede tener en el mundo de la música.
Además de ser el cantautor del mundialmente famoso grupo ABBA, Björn Ulvaeus también ejerce como presidente de la CISAC, la organización internacional que agrupa a las asociaciones de autores, a la que también pertenece la belga Sabam. Ulvaeus pidió en Bruselas un apoyo europeo sostenible para la protección de los autores.
Desde que ABBA causó sensación en la década de 1970 con éxitos mundiales como “Waterloo” o “Dancing Queen”, el mundo de la música ha cambiado hasta quedar irreconocible. Un clic de Spotify ha sustituido al disco de 45 rpm y además del streaming, la IA también está en auge. ¿Dónde está el músico ahora? Björn Ulvaeus explica su visión en una entrevista con Bent Van Looy (Radio 1).
Björn Ulvaeus (ABBA): "La compensación para los músicos en streaming sigue siendo demasiado baja":
El streaming llegó en un momento en el que la industria musical estaba muriendo”, afirma Björn Ulvaeus, “cuando había descargas ilegales masivas. Spotify fue entonces aclamado como una especie de salvador, que al menos daría algo a los músicos. Pero la compensación fue demasiado baja”. Las suscripciones económicas, por supuesto, son positivas para el oyente. Ya no vale la pena realizar descargas ilegales. Pero el resultado es “que la música sigue infravalorada”.
Con la IA, es más urgente que nunca proteger los derechos de autor de los músicos
Björn Ulvaeus (ABBA)
Con la llegada de la IA, los derechos de autor de los músicos también están en riesgo. “La IA ya está aquí y definirá la industria musical y al músico”, reconoce Ulvaeus. "La necesidad de proteger los derechos de autor de compositores y letristas nunca ha sido más urgente que ahora". Los programas de inteligencia artificial que se “entrenan” en la música existente deben pagar a los creadores de esa feria musical una compensación. La Unión Europea puede imponer principios para esto, que es de esperar que se cumplan”.
Björn Ulvaeus (ABBA): La IA puede inspirar, pero temo el momento en que la computadora tome el control:
La IA también tiene muchas ventajas. Pero Benny Andersson sigue siendo el mejor coautor.
Björn Ulvaeus no es nada contrario a los avances tecnológicos: basta pensar en el espectáculo de hologramas de ABBA. También ve los beneficios de la inteligencia artificial para los músicos. “Puedes verlo como una extensión de tu mente. Tienes acceso a todo tipo de referencias que no tienes en mente. ¿Cómo sonaría esto si Rachmaninov lo tocara? Eso no es robar ni copiar: puedes inspirarte”. A pesar de. Incluso con toda la IA, "el mejor coautor es, por supuesto, Benny Andersson", se ríe Ulvaeus.
La música generada automáticamente que ya no requiere intervención humana sería un desastre
Björn Ulvaeus (ABBA)
Pero hay un gran pero. ¿Qué pasa si la computadora se hace cargo por completo? “Tengo miedo de la música generada automáticamente y en la que no interviene la mano humana. Llegará el día en que este tipo de canciones se escucharán en la radio, y hasta te sacarán lágrimas. ¡Eso sería un desastre! Nunca podremos conceder derechos de autor a este tipo de música, tenemos que decidirlo ahora".
*****************************
Björn Ulvaeus (ABBA) bezorgd over AI: "Ik ben bang voor muziek waar geen mens aan te pas komt"
ABBA-boegbeeld Björn Ulvaeus kwam in Brussel pleiten voor meer respect voor auteursrechten voor muzikanten, in tijden van streaming en AI (artificial intelligence). Bent Van Looy kon de Zweedse songsmid strikken voor een exclusief gesprek. Daarin uitte Ulvaeus zijn bezorgdheid over de impact die AI kan hebben op de muziekwereld.
Behalve singer-songwriter van de wereldberoemde band ABBA is Björn Ulvaeus ook actief als voorzitter van CISAC, de internationale koepel van auteursverenigingen, waar bijvoorbeeld ook het Belgische Sabam bijhoort. Ulvaeus deed in Brussel een oproep tot duurzame Europese steun voor de bescherming van auteurs.
Sinds ABBA in de jaren zeventig het mooie weer maakte met wereldhits als “Waterloo” of “Dancing queen” is de muziekwereld onherkenbaar veranderd. Een Spotify-klik heeft het 45-toerenplaatje vervangen en behalve streaming is ook AI in volle opmars. Waar staat de muzikant nu? Björn Ulvaeus doet zijn visie uit de doeken in een interview met Bent Van Looy (Radio 1).
BEKIJK - Björn Ulvaeus (ABBA): "De vergoeding voor muzikanten bij streaming is nog altijd veel te laag":
Streaming kwam er op een moment dat de muziekindustrie aan het doodgaan was”, zegt Björn Ulvaeus, “toen er massaal illegaal gedownload werd. Spotify werd toen ingehaald als een soort verlosser, waardoor muzikanten tenminste iéts zou krijgen. Maar de vergoeding was veel te laag.” Voor de luisteraar zijn de goedkope abonnementen natuurlijk positief. Het loont niet meer de moeite om illegaal te downloaden. Maar het resultaat is wel “dat muziek ondergewaardeerd blijft”.
Het is met AI dringender dan ooit om het auteursrecht van muzikanten te beschermen
Björn Ulvaeus (ABBA)
Ook met de komst van AI staat het auteursrecht van muzikanten op de helling. “AI is er al en zal de muziekindustrie en de muzikant definiëren”, erkent Ulvaeus. “De nood om de auteursrechten van componisten en tekstschrijvers te beschermen is nooit urgenter geweest dan nu.” AI-programma’s die “trainen” op bestaande muziek moeten aan de makers van die muziek een eerlijke vergoeding betalen. De Europese Unie kan daarvoor principes opleggen, die hopelijk navolging krijgen.”
BEKIJK - Björn Ulvaeus (ABBA): AI kan inspireren, maar ik vrees het moment dat de computer het overneemt:
AI heeft ook veel voordelen. Maar Benny Andersson blijft de beste co-auteur
Björn Ulvaeus is allesbehalve vies van technologische ontwikkelingen, denk maar aan de hologram-show van ABBA. Hij ziet ook de voordelen van artificiële intelligentie voor muzikanten. “Je kunt het zien als een uitbreiding van je geest. Je hebt toegang tot allerlei referenties die je niet in je hoofd hebt zitten. Hoe zou dit klinken als Rachmaninov het speelde? Dat is niet stelen of kopiëren: je kunt je laten inspireren.” Hoewel. Zelfs met alle AI “blijft de beste co-auteur natuurlijk Benny Andersson”, lacht Ulvaeus.
Automatisch gegenereerde muziek, waar geen mens meer aan te pas komt, dat zou een ramp zijn
Björn Ulvaeus (ABBA)
Maar er is een grote maar. Wat als de computer het helemaal overneemt? “Ik ben bang voor automatisch gegenereerde muziek, waar geen menselijke hand aan te pas is gekomen. De dag komt dat dit soort liedjes op de radio te horen is, en dat je er zelfs tranen in je ogen van krijgt. Dat zou een ramp zijn! We kunnen aan dit soort muziek nooit auteursrechten toekennen, dat moeten we nu beslissen."
CISAC President and ABBA founder Björn Ulvaeus brought the voice of creators to the heart of the EU today, meeting with Prime Minister Alexander De Croo at the start of Belgium’s EU Presidency to discuss the vital need to safeguard creators’ rights in EU’s proposed AI regulation.
¿Cuál es tu canción favorita de ABBA? Björn Ulvaeus consiguió decenas de éxitos mundiales con ABBA. Ahora está comprometido con los derechos de los compositores en Europa. Esta mañana tuve una conversación fascinante con él sobre la música y el impacto de la inteligencia artificial en el mundo de la música. Es importante que la música siga siendo propiedad de quienes la crean. Un debate importante que tendremos en los próximos meses desde nuestra presidencia europea.
¿Qué cerveza belga le di? Waterloo, por supuesto.
instagram alexanderdecroo Wat is jullie favoriete ABBA nummer? Björn Ulvaeus scoorde met ABBA tientallen wereldhits. Nu zet hij zich in voor de rechten van liedjesschrijvers in Europa. Vanochtend had ik met hem een boeiend gesprek over muziek en de impact van artificiële intelligentie op de muziekwereld. Het is belangrijk dat muziek eigendom blijft van wie het maakt. Een belangrijk debat dat we de komende maanden voeren vanuit ons Europees voorzitterschap. Welk Belgisch Bier ik hem meegaf? Waterloo natuurlijk. ———————— Et vous, quel est votre tube préféré d’Abba ? Björn Ulvaeus, membre du célèbre groupe, a connu un succès mondial avec Abba et ses dizaines de hits. À présent, il défend les droits des auteurs-compositeurs en Europe. Ce matin, nous avons eu une conversation passionnante sur la musique et l'impact de l'intelligence artificielle sur cet univers. Une œuvre musicale doit rester la propriété de son créateur. C'est un débat important qui s’invitera prochainement au programme de notre présidence européenne. Quelle bière belge je lui ai offerte ? Une Waterloo, pardi !
CISAC President Björn Ulvaeus meets Belgian Prime minister Alexander De Croo on music, technology and copyright
24 January 2024 - Press release
CISAC President Björn Ulvaeus met with Belgian Prime Minister Alexander De Croo to discuss the huge impact of AI on the creative economy and the need for smart regulation by policy makers to safeguard creators’ rights.
The CISAC President and ABBA founder called for sustained support for copyright and the protection of creators by the European Union as Belgium takes the six-month presidency of the EU.
AI Regulation: a priority for the Belgian Presidency
Ulvaeus thanked the Prime Minister for Belgium’s important EU programme, which includes projects focused on intellectual property rights. At a key moment in the debate over copyright and AI, Belgium will also be overseeing discussions to finalise the text of the EU AI act. In particular, Ulvaeus urged the establishment of proper transparency principles in the EU AI Act and to require AI operators to adhere to copyright regulations.
Ulvaeus said: “The way we respond to AI and its relationship with copyright will have an enormous impact on European culture and our creative economy. At a time when legislation is planned in many jurisdictions across the world, this is a moment when I hope Europe will show its leadership in protecting creators and the creative industries. Rules that require transparency from AI operators are a vital element of this”.
Towards a sustainable creative economy
CISAC Director-General Gadi Oron and Sabam CEO Steven De Keyser also joined the meeting. They asked for sustained support for copyright and the value of the creative economy, at EU and national government level.
The important role of collective management organisations (or authors societies) in protecting and remunerating creators was also discussed. Sabam and CISAC are working in Belgium and internationally, along with other members societies and GESAC in Europe, to support creators struggling to make a living and build a career in the streaming market.
The delegation welcomed the report “Cultural diversity and the conditions of authors in the music streaming market”adopted by the European Parliament on 17th January. The report highlights inequalities for creators including inadequate remuneration and lack of transparency in how works are promoted and discovered.
Ulvaeus has been an international champion of the campaign for fair treatment of songwriters and all creators in the streaming world.
Besucher der „Voyage“-Show können sich auf kleine Überraschungen einstellen
VON
ROLLING-STONE-REDAKTION
22.01.2024
ARTIKEL TEILEN
Die echten ABBA (L-R: Bjorn Ulvaeus, Agnetha Faltskog, Anni-Frid Lyngstad, Benny Andersson) auf der Bühne. (Photo by Mike Prior/Redferns) FOTO: REDFERNS. MIKE PRIOR. ALL RIGHTS RESERVED.
El 06. Abril de 2024 ha legado el momento : Abba feiern 50 Jahre „Waterloo“. Mit dem Pianosturm-Song gewannen die Schweden 1974 in Brighton den Grand Prix Eurovision de la Chanson Européenne beziehungsweise Eurovision Song Contest und starteten ihre internationale Karriere, die zunächst bis 1983 anhielt. Derzeit wird noch gemunkelt, ob Benny Andersson, Agnetha Fältskog, Anni-Frid Lyngstad und Björn Ulvaeus beim ESC-Jubiläum in Stockholm (11. Mai 2024) einen Auftritt absolvieren könnten – wenn schon nicht als Live-Act (das schlossen sie längst aus) oder als „Abbatare“, dann vielleicht ja zumindest als Talk-Gäste. Wer weiß.
Schon rund einen Monat vorher, exakt am 06. April, wird in der „Voyage“-Arena im Osten Londons gefeiert. Was wird in der „Voyage“-Show passieren, was werden die digitalen Avatare tun? Nun, nicht viel, ehrlich gesagt. „Alle Karteninhaber für die Matinee und die Abendvorstellung am 6. April erhalten bei der Ankunft ein exklusives ABBA Voyage x Waterloo-Gedenkgeschenk und einen Gutschein für ein Freigetränk“, heißt es auf einer Buchungsseite, die zum „West End Theatre“ gehört. Beide Goodies werden nicht näher definiert. Für beide Auftritte gibt es noch Tickets, und der 06. April fällt auf einen Samstag.
Seit der Premiere der rund zweistündigen Show im Mai 2022 wurde über mögliche Setlist-Variationen spekuliert – viele Hits des Quartetts fehlen ja, „Take a Chance on Me“, „The Name of the Game“ oder „Super Trouper“. Vielleicht wäre die Fan-Hoffnung, Abba könnten nun dem Anlass entsprechend den einen oder anderen „Waterloo“-Song („Honey Honey“, „My Mama Said“) einstreuen, verfehlt. Tatsache ist aber, dass laut Auskunft aus dem Abba-Lager mehr als nur die 20 Songs von den Avataren beziehungsweise den Bandmitgliedern einstudiert, programmiert und visualisiert wurden.
“The soul of the songs comes alive. And that soul isn’t just down to what you see on stage. It’s the stories and memories that come with it. Both yours and ours.” – Björn Ulvaeus
The first step in designing the costumes for ABBA Voyage involved extensive research into the band's fashion history. Instead of recreating past looks, designer B Åkerlund aimed to interpret the aura of the band's style.
Sweden's Abba fans will not be disappointed this year. 50 years ago Abba won the Eurovision Song Contest. It will be celebrated with a live gala evening on SVT this spring.
- This will be SVT's present to Abba and the Swedish people, says program manager Christina Hill.
On April 6, 1974, music and television history was made when Abba won the Eurovision Song Contest with "Waterloo". It became the international breakthrough for the group and the rest is pop history.
SVT's gala evening to celebrate Abba takes place on the same day as the victory in Brighton, Saturday 6 April, 50 years later.
HACE 50 AÑOS ABBA GANÓ EUROVISIÓN ⭐️
Los aficionados suecos del Abba no quedarán decepcionados este año. Hace 50 años Abba ganó el Festival de Eurovisión. Se celebrará con una velada de gala en vivo en SVT esta primavera.
- Este será el regalo de SVT para Abba y el pueblo sueco, dice la directora del programa Christina Hill.
El 6 de abril de 1974 se hizo historia en la música y la televisión cuando Abba ganó el Festival de Eurovisión con "Waterloo". Se convirtió en el avance internacional del grupo y el resto es historia del pop.
La velada de gala del SVT para celebrar a Abba tiene lugar el mismo día de la victoria en Brighton, el sábado 6 de abril, 50 años después.
50 ÅR SEDAN ABBA VANN EUROVISION
Sveriges Abba-fans kommer inte att bli besvikna i år. För 50 år sedan vann Abba Eurovision Song Contest. Det ska firas med en direktsänd galakväll i SVT i vår.
– Det här blir SVT:s present till Abba och det svenska folket, säger programchefen Christina Hill.
Den 6 april 1974 skrevs musik- och tv-historia när Abba vann Eurovision Song Contest med ”Waterloo”. Det blev det internationella genombrottet för gruppen och resten är pophistoria.
SVT:s galakväll som ska fira Abba äger rum på samma dag som segern i Brighton, lördagen den 6 april, 50 år senare.
En el Teatro Cirkus !
Así se celebra Abba: gran velada de gala en SVT
Por hufvudstadsbladet / 9 de enero de 2024
Foto: CHARLES HAMMARSTEN / IBL
El 6 de abril de 1974 se hizo historia en la música y la televisión cuando Abba ganó el Festival de Eurovisión con "Waterloo". Se convirtió en el avance internacional del grupo y el resto es historia del pop.
La velada de gala del SVT para celebrar a Abba tiene lugar el mismo día de la victoria en Brighton, el sábado 6 de abril, 50 años después.
- Da la casualidad de que el 6 de abril es sábado, como lo era hace 50 años. Entonces lo hemos autorizado y esa noche haremos una especie de fiesta disco para todo SVT, dice Christina Hill, directora de programas de cultura, entretenimiento y estilo de vida de SVT.
Gala en el circo
La velada de gala tendrá lugar en el Cirkus de Estocolmo ante un público. Entre otras cosas, los artistas interpretarán canciones clásicas de Abbas. SVT aún no quiere revelar quién será.
- Pero por supuesto habrá un cartel de artistas llamado duga. Hay muy buenos artistas que estarán en el escenario.
SVT ha estado en contacto con Abba y recibió el visto bueno para la gala, pero no está claro si los miembros, notoriamente tímidos ante los medios, tienen la intención de aparecer en Cirkus.
- Realmente no lo sabemos. Queremos prestarles atención y rendirles homenaje. Y por supuesto les pasa de buena memoria y saben que lo hacemos. Son muy bienvenidos. Pero aún no se han enviado las invitaciones formales, así que ya veremos.
Celebración toda la semana.
Abba ha seguido atrayendo a nuevas generaciones de fans de todo el mundo gracias al musical "Mamma Mia", que dio lugar a dos películas y luego también al espectáculo Abba Voyage en Londres. También inspiran a los artistas de hoy. Por ello, SVT espera poder invitar a algunas estrellas internacionales a la gala.
- Imaginamos que algunos de los participantes serán rostros de otros países, dice Christina Hill.
La gala televisiva de Cirkus será la culminación de toda una semana celebrando a Abba en SVT en varios programas diferentes.
- Durante toda la semana en SVT se notará realmente que es el cumpleaños de Abba.
La celebración es muy apropiada para SVT, donde Abbagalan será una especie de preludio del Festival de Eurovisión que se celebrará en Malmö en mayo.
- Es muy divertido y alegre y luego será muy agradable que también hagamos una final de ESC un mes después, por lo que será una primavera muy divertida en SVT.
Den 6 april 1974 skrevs musik- och tv-historia när Abba vann Eurovision Song Contest med “Waterloo”. Det blev det internationella genombrottet för gruppen och resten är pophistoria.
SVT:s galakväll för att fira Abba äger rum samma dag som segern i Brighton, lördagen den 6 april, 50 år senare.
– Det råkar vara så att den 6 april är en lördag, precis som det var för 50 år sedan. Så då har vi röjt och ska göra en sorts discofest för hela SVT den kvällen, säger Christina Hill, programledare för kultur, nöje och livsstil på SVT.
Gala på Cirkus
Galakvällen äger rum på Cirkus i Stockholm inför publik. Bland annat kommer artister att framföra Abbas klassiska låtar. SVT vill ännu inte avslöja vem det blir.
– Men visst blir det en artistuppställning som heter duga. Det är väldigt fina artister som kommer att stå på scenen.
SVT har varit i kontakt med Abba och fått klartecken för galan, men det är osäkert om de notoriskt medieskygga medlemmarna tänker dyka upp på Cirkus.
– Det vet vi inte riktigt. Vi vill uppmärksamma och hylla dem. Och visst händer det med deras goda minne och de vet att vi gör det. De är mycket varmt välkomna. Men formella inbjudningar har inte gått ut än, så vi får se.
Hela veckans firande
Abba har fortsatt att locka nya generationer fans från hela världen tack vare “Mamma Mia”-musikalen som ledde till två filmer och sedan även Abba Voyage-showen i London. De inspirerar också dagens konstnärer. SVT hoppas därför kunna bjuda på några internationella stjärnor till galan.
– Vi tänker oss att några av deltagarna kommer att vara ansikten från andra länder, säger Christina Hill.
Tv-galan från Cirkus blir kulmen på en hel vecka med att fira Abba i SVT i flera olika program.
– Det kommer verkligen märkas hela veckan i SVT att det är Abbas årsdag.
Firandet kommer passande nog för SVT där Abbagalan blir ett slags upptakt till Eurovision Song Contest som hålls i Malmö i maj.
– Det är väldigt roligt och glädjefyllt och då blir det extra trevligt att vi också ska göra en ESC-final en månad senare, så det blir en väldigt rolig vår i SVT.
.jpg)
.jpg)
.jpg)
.jpg)
