Insider Rehearsal Report: The Style of Staging

Shepherds (Brian Thorsett and Christian Reinert) embrace Orpheus (Michael Slattery).

Making a modern version of an older opera, like Monteverdi's L'Orfeo, is all about accentuating those contrasts while making them fit into a cohesive artistic vision. Director Christopher Alden is casual and approachable, but obviously knowledgable about the opera and its history.

La Musica (Juliet Petrus) waits for her cue.

In this early stage of rehearsing, the creative team divides its time between music and blocking. With any form of theater, the way an actor delivers his or her lines is essential to building dramatic tension. Conductor Antony Walker coaches the singers not just on tuning or rhythm, but on expression. "In the end I want to conduct it as little as possible and have you drive it."

Directing is very much about taking a page with some music or words on it and creating a world out of it. No two directors will create this world in the same way. Alden's dynamic staging is a far cry from what could be staged as a rather stiff court drama. Instead, there is movement going on nearly every moment. Each line of music has a clear intention behind it and Alden ensures that the singers express it in the staging.

Director Christoher Alden shows Christian Reinert blocking.

Alden shows the actors exactly what he wants by walking their parts, saying what could be their inner monologue. "'Let's get out of here.' 'Yeah, you're right; let's go now.' They're getting more and more freaked out," he said, describing the emotions that the shepherds feel when encountering Pluto, Lord of the Underworld.

Insider Rehearsal Report: Principals at Play

The rehearsal process involves many different types of rehearsals: choral rehearsals, technical rehearsals, dress rehearsals, etc. Early rehearsals with the principals take place away from the theater, but are important in allowing principals to develop their characters in the context of the creative team's concept of the production.

In Thursday's Glass rehearsal, the focus was staging the scene in the opera that is most like a sitcom--when Orphée and Eurydice come back to their home from the underworld and Orphée is not allowed to look at her. The scene is chock-full of rapid dialogue over orchestration composed in a cellular style, with phrases of music are repeated again and again. There are also timing issues to tackle, such as Orphée casting near-glances at Eurydice without actually looking at her and making the whole thing look accidental, yet natural.

Director Sam Helfrich began by talking through the scene with singers Philip Cutlip (Orphée), Caroline Worra (Eurydice), Jeffrey Lentz (Heurtebise) and conductor Anne Manson. Discussion jumped to character conceptualization, pivotal points in the work, and interpretation of Glass and Cocteau's work. As they talked in the school gymnasium, the group lounged on the set.

Working with the principals also allows Manson to work in-depth on the music in the scene. Working on music is essential for any opera, but especially a piece that is not in the standard repertoire. Often, all the music is new to the singers until they are cast. Since the singers learned the music and words before they arrived, only small adjustments--a word here, an entrance there--were needed. Even when the singers were just sitting and singing, they were still rehearsing facial expressions and the occasional gesture.

Helfrich's excitement often mirrored that of the principals', lending an air of dynamic creativity to these rehearsals. "I have such a good way for you to get back from the underworld. I'm dying just to do it and watch it."

For more rehearsal photos from the Glass, click here.

Something old, something new

Opera has an ill-conceived reputation for being intellectually challenging, elitist, and overall intimidating here in America. And while anyone who has seen a production of Orpheus in the Underworld, Die Fledermaus, or any number of fine productions can tell you that's simply not true, the myth lingers on. A good director knows how to balance artistic creativity with accessibility. So, how can a director help an audience engage with a piece that's nearly 400 years old, composed before opera as we know it really existed?
Director Christopher Alden has a plan. Having already directed the show with Opera North in Leeds, England, Alden is ready to tailor the production for Glimmerglass. This production of Monteverdi's L'Orfeo, marking the 400th anniversary year of its premiere in Mantua, Italy, uses a mixture of elements from 1607 and today.

"It is very edgy," he said. "It's a piece about artists and art—at the core it's about what it means to be an artist. It's amazing how not a lot of things have changed between then and now- to survive as a composer, as a stage director, as a tenor or a baritone." Bringing an older opera up-to-date promises that there will be something in the production for everyone in the audience.

Something Old
One of the challenges of producing such an old show is making the music sound like it did when it premiered. While this has a lot to do with the conductor's choices and knowledge of historical performance practice (ornamentation, tempi, accents, etc.), the most noticeable change is the type of instruments used. The other shows in the season have music rehearsals with a piano, but the Monteverdi will rehearse with a continuo ensemble of baroque keyboard instruments (such as a harpsichord) and stringed instruments. This is not because the piano wasn't invented until the 1800's, but rather because the interaction between instruments and voices in the early Baroque period more closely resembles that of today's jazz ensemble than a traditional orchestra. Although instruments like the recorder and trumpet have specifically written parts, the continuo instruments' score is like a blueprint or chord chart, leaving them free to improvise. This means that while the instruments are over 400 years old, each performance will be new and unique.

Something New
Set Designer Paul Steinberg and Costume Designer Doey Lüthi planned the props and costumes as fusion of faux 17th century fashion and contemporary styles. The assortment of furniture lends an eclectic atmosphere to the stage environment. The costumes run the gamut from classic Greek to frilled collars to patched jeans. "Eurydice is in this sort of Greeky-ish costume, but she also sort of looks like Courtney Love," Alden said.

Something "Borrowed"
Glimmerglass often co-produces shows with other companies. Co-producing a show means that the sets, props and costumes were designed with Opera North, Glimmerglass, and Norwegian Opera in mind, and the designers are at Glimmerglass working with the creative team. All of the sets and most of costumes are the same ones used in Opera North's production, with some alterations for new singers.

The cast will rehearse for four weeks before opening on July 28th. Until then, they'll be hard at work bringing Monteverdi's masterpiece 400 years into the future.

Insider Rehearsal Report: All the way through Offenbach

Think opera is all about Viking hats, long-winded Italian sopranos, and extended death scenes? Think again! Orpheus in the Underworld by Jacques Offenbach is a satiric comedy, taking the traditional myth about the loving couple separated by death and standing it on its head. Sung in English, Orpheus in the Underworld is perfect for the newcomer to opera, as well as great fun for the veteran opera-goer.

Offenbach’s whimsical approach to the Orpheus myth seems to have affected the feel of the rehearsals themselves. Although the work ethic is no less focused than in Gluck rehearsals, the light-hearted nature of the opera shines through in the personalities of the singers and staff, which are as vibrant as the characters they portray. It's easy to see that the singers, conductor, and director love what they do and love planning gags that will make the audience laugh. The singers wear parts of their costumes and their shoes, creating an interesting mix of modern and antiquated clothing. Upbeat tunes and comical staging complete the eclectic atmosphere.

Today's rehearsal was the first run-through before rehearsals on the stage of Alice Busch Opera Theater. The run-through can give the cast and creative team (the lighting designer was in attendance) a better idea of how the show itself will flow, as opposed to perfecting tiny sections. The director and conductor can also assess which sections need the most work. In the next few days, the crew of Orpheus in the Underworld will add sets, costumes, props, and lighting to their rehearsals, so the cast and production staff have a better idea of how their production will come together.

Everyone is looking forward to learning how the various production elements will enhance the cast’s already excellent work. Joyce Castle (Public Opinion) alone, in all her proselytizing glory, is worth the trip to Cooperstown, Jill Gardner's (Eurydice) high notes are sparkling--add in the other hilarious, consummate professionals and you've got magic!

To view more photos from rehearsal, click here.

Insider Rehearsal Report: A Blank Slate for New Orphée

Beginning work on any opera is exciting. However, beginning work on a modern opera that's only been staged 3 times in North America--that's a landmark moment for any company. The opera in question is, of course, Philip Glass' Orphée, which premiered in 1993 at the American Repertory Theatre in Cambridge, Massachusetts. Glimmerglass rehearsals began Monday. Director Sam Helfrich created a open atmosphere by using the first meeting to share his conceptualization of the show and encourage discussion amongst the cast and crew.
Artistic and General Director Michael MacLeod began the rehearsal by introducing himself and the idea behind the season-- why Orpheus? To follow the distinguished 29-year tenure of Paul Kellogg, MacLeod searched for an imaginative way to make a mark on the company for his first season. To his surprise, three of perhaps the most famous operas based on the Orpheus myth had never been done at Glimmerglass, and it only seemed appropriate to do a season of Orpheus in 2007, the 400th anniversary of the first widely-recognized opera, Monteverdi's L'Orfeo. "The four operas complement each other perfectly," he said. "You can't ask for a wider range of style."

Unique style won't be a problem for Helfrich, who is directing the only modern opera of the season. Glass' Orphée is based directly on the 1950 film by French director Jean Cocteau, which integrated modern film techniques such as reverse footage. Helfrich and the show's designers made a conscious decision to move away from the staging and scenery of the film version. "It's a beautiful movie, and with beautiful movies, it's easy to get lured into aesthetics. I thought, we have to get into this piece in some other way."

The piece, as well as the movie it's based on, presents a host of puzzles. Helfrich touched on this, discussing the second to last scene in the opera, where the Princess lets Orpheus go, supposedly for some greater good. "That's a huge question without an easy answer," he said. Conductor Anne Manson pointed out similar challenges with the score. "One of my first frustrations in looking at the score was that the orchestration reveals so little about the inner lives of the characters. The music doesn't give you clear answers."

Fortunately, with no clear answers, the potential for creativity in all areas of the production process is nearly limitless. For Helfrich, rehearsals are a mental process, complementing the physical process of staging. He encourages the actors and the audiences to talk about these questions. "This piece will be a success to me if I leave the audience not only asking what just happened, but dying to talk about it."

Insider Rehearsal Report: Introduction to Offenbach

On a steamy weekday afternoon at Saint Mary's school all-purpose room, five free-standing doors replace neatly stacked tables, and rows of cornstalks line the walls, blurring the myriad of 1st communion pictures that adorn the cinderblock. It is clearly time for an Orpheus rehearsal, courtesy of the Glimmerglass Opera. The question is... which one? There are 5 distinct options this season, ranging from the avant-garde Glass to the traditional Monteverdi. Today's rehearsal however, has been reserved for Offenbach.

Filth, lust, beekeeping and showgirls are just a few of the topics touched on in this hilarious operetta that pulls at both hearts and funny bones as the myth of Orpheus is, well, transformed. The once happy marriage between Orpheus and Eurydice has become a mockery, and the chaos that ensues as the gods bicker for her affection will keep everyone laughing each minute. By the end of the show, every audience member will be dying to know: Who will Eurydice choose?! Well, you are just going to have to come see it because I certainly will not tell you!

Directing an opera has its own distinct and monumental challenges, and directing a comedy requires precision and incredible detail to timing. To seamlessly combine both is nothing short of a rehearsal colossus, but director Eric Einhorn is up for the challenge. His eclectic background, ranging from Mozart's Cosi Fan Tutte all the way to Stravinsky's Oedipus Rex, gives him the dramatic knowledge and the theater savvy that will guide the actors through the hysterical dialogue as well as the extravagant vocal lines. In rehearsal, Einhorn stays focused while constantly thinking up images to help the actors imitate the specific musical comedy style without overdoing it (unless it is necessary, of course!) One of my favorite images was when he asked the female chorus to "loom in like in West Side Story" on Pluto, a god who does not see them coming.

The actors are remarkably good sports, especially with such a brief period of time to put the piece together. Tenor Kurt Lehmann started rehearsal Saturday, June 9th, and by the time I saw him on Monday, June 11th, the script was out of his hands. For an opening on July 7th, time is precious and each second counts. A three hour rehearsal can fly by if time is wasted, but the synergy needed by both the staff and performers is crucial for making sure details are not ignored. A conductor, vocal coach, accompanist... these important staff members are at every blocking rehearsal to catch musical notes while the directing team is focusing on dramatic arc. At a break, an actor may receive a different note from each member of the staff and must implement it as soon as they can. There is no wasted time in operetta, no matter how clever the delayed punchlines may be!

Insider Rehearsal Report: Gluck Staging, Week 2

Demons, a tragic accident, a trip to hell and an enduring romance. No, it’s not Hollywood’s latest blockbuster. It’s Christoph Willibald Gluck’s Orphée et Eurydice.

The second week of rehearsals is well underway and the exciting story is coming to life, guided by director Lillian Groag’s artistic vision.

With only three days left until the first rehearsal on Glimmerglass’s Alice Busch Opera Theatre, the schedule is becoming increasingly intense. Actors must be available all day for music rehearsals, costume fittings, and stagings. Staging rehearsals take place in a school gymnasium, creating an interesting juxtaposition of the school’s wrestling mats and pieces of the real opera set—in this case, large broken chunks of Greek architecture. Groag, choreographer Nicola Bowie, and conductor Julian Wachner share responsibility for running rehearsals, dictating new blocking and movement, correcting old staging, and polishing the music, both for expression and accuracy. When it’s rehearsal time, singers often rehearse in front of as many as 10 staffers—the director and assistant director, choreographer, stage manager and assistants, conductor and assistant conductor, chorus master, rehearsal pianist, and various production staffers. Fortunately, these singers are used to performing in front of an audience.

Stagings this week are all about what works and what doesn’t. Coming up with creative, believable staging is all about experimentation. Groag often allows her leads, Michael Maniaci (Orphée) and Amanda Pabyan (Eurydice), great freedom in their blocking, letting them determine how best to physically express their character and tweaking where she sees fit. Other times she has very specific ideas of what she wants from them, even giving exact measure numbers when blocking is to occur. Still other times, she decides to wait until the staging rehearsal to see how things look on the big stage.

With an opening on July 8th, the cast is well on their way, but a number of elements still need to be added to this dramatic production—set, lighting, titles, costumes, orchestra, and of course, the audience!

To see more photos from Gluck rehearsals, click here.

To visit the Glimmerglass website with ticket information and more, click here.