It’s official

From Eric Hale:

We had our first production rehearsal last night. This marks the official beginning of the production, although, as I pointed out in my last post, we’ve been working on Carmen for quite a while. This rehearsal was a sing-through, which is exactly what it sounds like. Since it was a sing-through, Thomas, our director, ceded control to Wayne, our conductor.

Wayne began the evening with some familiar rituals. First was the introduction of the principals. He also introduced key behind the scenes people, such as Ellen and Joel, the founders of the company; Ruth, our costumer; and Sarah, our stage manager. It’s nice for the backstage folk to get a moment of applause. They more than deserve it. They do so much and get so little credit.

Next came the ritual recitation of the rules. There are only a few:
1. When Wayne or Thomas, is talking, SHUT UP.
2. Pay attention.
3. Respect other people’s time.
4. With regard to the stage manager: Sarah is always right. You will listen to Sarah. You will do what Sarah says.

Then it was time to get to work. Although the chorus has met a few times in the last month, this was the first rehearsal with principals. It was also out first rehearsal with Wayne conducting. After several weeks of chorus rehearsals, it was thrilling to hear the music with all the parts. It was also a little scary to find out some of the tempos are really going to be.

Here are some observations:

* A lot of the music in Carmen is fast. I mean bat-on-crack kind of fast. It’s one thing to sing at that speed when you’ve run the same section several times with Kevin slowly speeding up the tempo. It’s quite another thing to sing it when you’ve been hanging out for half an hour waiting for your next entrance.

* Once of the great mysteries of the universe is how one can be looking straight at the conductor, see a cue, know it’s your cue, and still not come in. It’s an even greater mystery when the entire chorus does it.

* Wow, the principals are good. Really, really good.

* Even demi-gods stumble. Hearing that was all that kept my ego from being totally crushed.

* Wayne and Kevin, the chorus master, do not conduct in exactly the same way. Both of their directions are clear, but the chorus was doing a bit of a gear shift for much of the evening.

Overall, it went better than expected. The stars sounded glorious. I can’t really comment on the chorus, but Wayne seemed please with where we are at this point in the process.

Next rehearsal, we’re going to have to start moving and singing. There’s always another challenge.

We open in 17 days.

How much has to happen before anything can happen

From Eric Hale:

The first production rehearsal for Capital Opera’s upcoming production of Carmen is tonight. During the next three weeks, members of the cast, crew, and board will blog here about Capital Opera’s upcoming production. Some posts may be personal, others will be about the cold practical aspects of bringing an opera to life. We hope you will find some interesting reading

Welcome. My name is Eric Hale. I’m a member of the board for Capital Opera, a member of the chorus for our upcoming production of Carmen, and the person who is coordinating this blog.

Years ago I hear an event planner angrily protest “You have no idea how much has to happen before anything can happen!” It was true – I didn’t. When I joined the board, I again discovered how much has to happen before anything can happen. That seemed like a good place to kick off this blog. Preparations have been going on for a year. What follows are just a few of the things that had to happen.

• Choosing the opera for the season
• Setting the budget for the production
• Negotiating with Fletcher and setting the dates
• Auditioning the cast
• Finding the other essential lead personnel, including, but not limited to, the director, chorus master, conductor, costumer, scenic designer, stage manager
• Recruiting other personnel, such as the orchestra or members of the running crew
• Making the early creative decisions, such as when the production will be set, without which the costumer and scenic designer cannot move forward
• Developing marketing materials
• Learning the music, for those in the cast

That list leaves out a lot: the logistical challenges for the performers who are not local, making costumes and sets, setting rehearsal schedules, finding rehearsal space, finding the money to bring the production to the stage – the list may not be endless, but it is very long.

First rehearsal is tonight. Many of us have been preparing for this night for a long time. I can’t wait.