I think part of the problem is NOT the cost of rehearsing, it is that
opera has traditionally been approached as a MUSICAL rather than a
THEATRICAL genre. As such, operas themselves are approached as musical
works that just happen to be staged, costumed, etc. The logistics of how
they are cast, rehearsed, scheduled for performance, etc., are much more
comparable to the logistics for performances of other types of musical
works: the chorus and/or orchestra is well-rehearsed, while the soloists
are trusted to take care of themselves, with minimal rehearsal _in situ_.
The entire opera performer culture has grown up with expectations that
things will work this way, and so opera soloists are able to "jet set"
from one city to another, putting in only a very few days in rehearsal for
any opera (more rehearsal generally for new works/new productions,
absolute minimal rehearsal for revived productions they've already
performed).
I've always found it bizarre that an opera singer is supposed to be able
to remember the details of staging of productions they sang several years
before. This is not an unreasonable expectation, I suppose, when the
production was simply staged, with lots of "stand there and sing" moments
(e.g., Jane Eaglen would have no excuse AT ALL for forgetting her staging
in the recent Met production of TRISTAN UND ISOLDE, given she *literally*
stood there and sang through the entire production). But as more and more
of today's operas are being directed by theatre and film directors with
more elaborate, movement-oriented concepts.... God knows, I can't
remember the blocking of operas and operettas I performed in a few years
ago. It would be absurd for me to expect to get up on stage with only 1-2
rehearsals to renew my memory of some of the very elaborate stage
"business" in those productions. And yet, this is what opera singers
(notice I say "singers", not "actors") are expected to do.
My friend and I were discussing this yesterday. I wondered whether it
would be possible, at the local/regional level to establish a repertory
opera company that based its performance preparation on the repertory
theatre company model: i.e., an opera company using all local talent, so
the issue of the cost of flying in big name singers doesn't exist.
This would not only give the many talented local/regional singers who are
consistently overlooked by other companies in this area - even the local
companies here in D.C. are trying to raise their profiles by hiring in all
their major soloists from New York, even when equally and even more
talented singers are living (and trying to find work) right here in D.C.!
This would also give a solid core of singing talent we could rely on, and
would also, I believe, improve the overall QUALITY of opera performances
*because* there would be enough rehearsals and also a solid theatrical as
well as musical ethic.
The idea would extend to trying to enlist some of our local/regional
orchestras - those with conductors who were willing to "branch out" from
the traditional local/regional orchestral fare to perform as a
theatrical/operatic orchestra. Ditto local dance companies.
Does this sound like a silly idea - or one that might fly?
KM
............................
NEIL SHICOFF, TENORE SUPREMO
http://www.radix.net/~dalila/shicoff/shicoff.html
My Own Website
http://www.radix.net/~dalila/index.html
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+ I sing hymns with my spirit, +
+ but I also sing hymns with my mind. +
+ - 1 Corinthians 14:15 +
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