Opera Basics #1: What is opera? How is it different to musical theatre?

Introduction to the Opera Basics series

Just want to know what opera is? Click here to skip the introduction.

Opera sometimes has a reputation for being elite, snobby and difficult to understand. This is simply not the case! Opera is a great night out for you, your friends and your family. Your enjoyment of opera can go as deep (or as shallow) as you want it to: you can attend just to enjoy the dramatic stories and the incredible sets, or you can delve deeper and look into the history, musical devices, vocal artistry, operatic traditions and much more.

The opera basics series will look into the basic questions we at Opera Australia are regularly asked. Each week we’ll address key points covering issues that beginners and those new to opera want to know about. This week, we address the question: What is opera? How is opera different to musical theatre?

In the weeks to come, we’ll be addressing other questions:

o   Is opera boring?

o   What is an aria?

o   Do they sing in English? How can I tell what they’re saying?

o   What do people wear to the opera? Is there a dress code?

o   Which opera should I see? How do I choose my first opera?

o   Why are operas so expensive? Is there a cheaper way to see opera?

If you have any additional questions, pop them into the comments section below and we’ll make sure to address them. Our goal is to help everyone become more familiar with opera as another entertainment option, so we’re happy to address any questions or concerns. If you don’t feel comfortable asking in a public forum, feel free to email us at online@opera-australia.org.au. Alternatively tweet us @OperaAust or visit our Facebook page.

Summary: What is opera and how is it different to musical theatre?

Click here to be taken directly to the detailed explanation

Opera can be viewed as a performance art and a musical genre which communicates stories on a grand scale using lyrics, song, acting, props, set, costume, and orchestral music. 

The three main differences between opera and musical theatre:

1. Amplification: In opera it is rare to have the voices and instrumentation amplified over a speaker system, whereas in musical theatre microphones and amplification are almost always used.
2. Vocal style: opera uses rich voices with sound focussed in the throat, while musical theatre voices focus sound toward the front of the mouth or nose.
3. Music vs dialogue as the driver of the story: Opera tends to communicate the story entirely through the music and songs, whereas musical theatre tends to communicate the story through drama with songs acting as a supplement to the storyline.

Now for more detailed explanations...

Weekly Review Competition Winner: @LivAnon, The Mikado

Haven't heard about our audience review competition? Click here to read the blog post explaining it and see how you could win a double pass to a 2011 opera!

In the second week of our review competition and the last until our Sydney Winter season in July, it's my pleasure to announce that this week's winner is @LivAnon for her review of The Mikado. I've posted her review below, but to see it in it's original setting just click here.

Congratulations Liv, you've won two tickets to a 2011 Opera Australia production of your choice!

Other entrants this week:

• @Sixtyftqueenie reviews The Mikado and The Pearlfishers:
  http://www.easyasveganpie.net/2011/05/monday-melbourne-roundup.html
• @tysonarmstrong reviews The Mikado:
  http://tysonarmstrong.com/the-mikado-opera-australia/
• Runner-up Jack Tan reviews The Mikado:
  http://www.facebook.com/topic.php?uid=139825912698553&topic=345

What I'd tell my friends of The Mikado

Irreverent.  Energetic.  Silly.  Fun.  British. And vastly entertaining. That's what I'd tell my friends of Opera Australia's production of The Mikado.

"Yeah, yeah," my friends would say, disdaining my rhapsodies.  "What the heck is it all about?"

Well!

Boy loves Girl. Girl loves Boy.  But alas, girl is unavailable -  she's bethrothed to her guardian, a tailor turn High Lord Executioner, whom she does not love. Thus, here are two star-crossed lovers, pining for each other, staring into each other eyes, moping about.

"Heh," are my friends' response.  "Boooooriiinng!"

Ahh, but not so.

The High Lord Executioner, it turns out, is in a bit of a pickle. Since he took office (by default), nary was there an execution in the town. His boss, the Mikado, Emperor of all Japan ...

"Hang on .. JAPAN?!!  I thought this was a British play," squawked one friend.

Oh. Did I not say it is set in Japan?

"NO!"

Oh well.  It's set in Japan.

And so ... may I continue?

"Go on!!"

And so, the Mikado, Emperor of all Japan, is not impressed with the High Lord Executioner and sends a message which pretty much says:  Chop someone's head off, and do it now, or else!  Koko - that's the High Lord Executioner's name - panicks.  Whose head should he cut off?

Someone suggests Koko cuts his own head off.  That's impossible! How can one cut one's head off?! 

"Ohhhhhh," my friends are a little intrigued, but didn't want to show it too openly. "What comes next?"

Mate, you'll just have to go and see it.

"Does it end in tears?  Someone always dies in operas," someone asks.

Darling, in this one, it ends happily ever after.

Click 'Read More' below to see the rest of Liv's review and to see our runner up...

Weekly Review Competition Winner: Alice Macfarlan, The Pearlfishers

In our first week of our ongoing review competition we received six entries from opera-goers in Melbourne as the 2011 Autumn season comes to a close.

Congratulations go to student Alice Macfarlan, whose review of The Pearlfishers on the website of Melbourne University's Farrago Magazine was selected as the most insightful of the bunch. Here's a copy of her review, you can also view the original here. Alice has now won two tickets to an opera of her choice for 2011!

Review: The Pearlfishers

Boy meets girl. Boy’s best friend meets girl. Both fall for girl, and both swear a vow to give up girl in order to save friendship. What a way to start an opera.

In real life this type of pact might survive for at least a week. In an opera, this is akin to a character in a horror film saying, “Don’t worry, we’re safe now.” It bodes no good, and when said girl reappears on the scene, she threatens not only this noble pact, but also the very fabric of the pearl fishers’ community in which it is set, sprouting more drama than you can shake a pearl at.

One audience member asked during an interval, “Are all operas about love?” What is interesting about The Pearlfishers, however, is that the operatic level of drama accompanying the “love” of the story is not simply there for stylistic purposes. Instead, every dramatic look, gesture and aria becomes part of a deeply woven tapestry exploring the relationship between artifice and truth, love and memory. It seemingly asks the audience, “Do you really believe in this? Should the characters really believe in this?”

It’s like this from the start, when a panel of artificial curtains is lifted to reveal a man lapsing into thought provoked by an opera he has just seen, the golden curtains of which are displayed in the background. We are then cast into his memories, on the island of the pearlfishers, a world in which the memories of the main protagonists drive almost every action. But with the repeated reminder of the golden opera arches popping up throughout the three acts, one cannot relax into taking everything at face value. This is an act, we are reminded, and these are only memories. But it is an enticing act to watch nonetheless as the storm of memories meeting life unfolds.

On a musical level, The Pearlfishers does its best. It is let down, not by the orchestra, but by the composition itself, which is not at the same level as others from Bizet, creator of such works as Carmen. It’s perfectly listenable, but it lacks the full emotional weight that one might have expected. Composer Ollivier-Philippe Cunéo’s interpretation certainly did the music as much justice as the score could afford, as did the vocalists who created some powerful musical moments, once they had warmed up after a first act which seemed as though it could have used 10 more minutes of pre-curtain vocal exercises. Henry Choo (playing Nadir) was a stand out on stage, with a rich and warm quality that was able to capture some emotionally stirring moments and really bring them home.

Although not Bizet’s best, it is rich, entertaining, and very well performed. The Pearlfishers is an opera that will surprise you, captivate you and most likely woo you, so long as you give it a go.

Congratulations again to Alice and I hope you enjoy whichever opera you choose!


Other reviews submitted were:

• @thetowncrier on The Pearlfishers: http://blogs.crikey.com.au/curtaincall/2011/05/15/review-the-pearlfishers-state-theatre-melbourne/
• @yelizsel on La boheme: http://www.upstart.net.au/2011/05/17/opera-review-%E2%80%93-la-boheme/
• Mario M Anders on The Mikado as a comment on our blog: http://blog.opera-australia.org.au/2011/05/officially-announcing-our-new-weekly.html
• @DanielADSwain reviewed The Mikado both on his Facebook and then published at Simply Syndicated (congrats!): http://www.simplysyndicated.com/opera-australia-does-the-mikado/

Click 'Read More' below to see the final submission, who was chosen as our runner up!  

Introducing Opera on Sydney Harbour

 

Beautiful music. Breathtaking spectacle.
An unforgettable evening under the stars.

For three weeks only in March 2012 one of the greatest operas ever written is performed on a shimmering stage, afloat on Sydney Harbour. Extravagant and devastatingly romantic, La Traviata is perfect for first-time opera-goers.

This monumental production features a forty-piece orchestra, magnificent sets, beautiful costumes, dazzling effects, and a 9-metre chandelier suspended above the purpose-built floating stage. The Sydney Opera House, Sydney Harbour Bridge and city skyline provide the spectacular backdrop.

Experience the magic from our specially-built venue at Mrs Macquarie's Point in the Royal Botanic Gardens.

With drinks, dining and travel packages available, this is the perfect centrepiece for a visit to Sydney. Or just an amazing night out with friends.

  

Click Here to Visit the Opera on Sydney Harbour Website for Ticketing Info, Videos and Music

The Top 5 Rapture Arias

Last week we all got prepared for the rapture, so I asked our Twitter followers which aria they would listen to as their last aria before the rapture. We had some fantastic submissions but here are the "Top 5 Rapture Arias" chosen from your suggestions.

Do you agree? What would your rapture aria/s be?

 5. "Sacred Rapture" from Solomon by Handel
 "@AllegraGiagu: in Handel's 'Solomon', the priest Zadok sings the aria "Sacred #rapture" .... geekily enjoying the #rapturearia search!"







4. The finale from Faust by Gounod
"@talopine: I think something from the end of Faust or Don Giovanni might be most appropriate for me :) #rapturearia "

The Mikado: backstage makeup and production photos!

The Mikado opened this week and has received fantastic responses from audiences.


Given the scale of this production and the incredible transformations our singers go through, we figured this would be a great opportunity to show how the "mild mannered mezzo" Jacqueline Dark gets turned into the formidable Katisha! Check out the below video to have a look:

Thank you to Jacqui Dark (@JacquiDark) for her cooperation, commentary and laughter!

The Mikado is showing until Saturday 28 May 2011 at the Arts Centre in Melbourne. Click here to book tickets!

Before/after shots and plenty of production photos after the break:

Officially announcing our new Weekly Review Competition

Great news for opera-goers: Opera Australia needs to know more than just what professional reviewers and occasional emailers have to say about our productions. We want to hear from you!

Every week, the most insightful audience review (not necessarily the most flattering!) will be published on our blog and the reviewer will win a double pass to attend any opera in the 2011 season, be it Sydney or Melbourne.

We invite audience members to post their reviews online and then let us know by linking to their review on our Facebook page, Twitter, or as a comment here in our blog. If you prefer the spoken word, we will also accept YouTube and video reviews posted online. Just let us know and you’ll go in the running.

If you’re seeing a show this week you could be in the running, so get posting and let us know what you think of our productions!

By Anna McDougall, Digital Marketing Officer

Pearlfection – a performer’s perspective (Part 4)

When Opera Australia opened The Pearlfishers in Melbourne, tenor Henry Choo was centre stage as Nadir, making and breaking his vow of eternal friendship.  In the final of this series of blog posts, Henry takes us to the Stage Orchestral Rehearsal.

Michael Black

Emma Matthews

It’s 9.25am and I’m running to the theatre from my apartment because I’m going to be late. Fortunately for me, Emma Matthews (Leila) is still in the makeup chair when I arrive. Andrew’s having trouble putting her head-dress into her wig – the pins won’t stay in and it’s way too early in the morning to be inflicting pin-induced scalp wounds. 

Emma gets up off the chair and swishes her long Avatar-like pony tail around in a wide arc.  It’s a pity she’s wearing dark 10-W makeup as opposed to blue body paint. She’d likely make a wonderful real-life native Pandoran.

“All hands on deck” is the way today’s Stage Orchestral rehearsal will run. Unlike the piano

Kylie on prompt

During the rehears

dress rehearsals, where Luise Napier had directorial control of the rehearsal to amend and fix production issues, the stage orchestral rehearsal falls under the authority of the conductor, Olivier Cuneo. We rehearse Act 1 today in a “stop-start” fashion prior to the rehearsal break, and then as a “continuous run” of the act after the break.

It’s wonderful to see all the individual elements of the production coming to fruition as a whole. The dancers are a joy (and great distraction) to watch as they perform their graceful spins and twirls.

Kylie from Stage Management “calls the show” from “prompt-corner” (right-hand -side of stage

Dancers

Dancers

when viewed from the audience perspective), whilst Eugenia and Sophie ensure that performers are ready and waiting to go on stage from their respective sides. Chorus Master, Michael Black, is close at hand to help resolve musical issues involving the chorus.

The buzz is now definitely in the air. It’s now 6 days before opening night…

Conductor Olivier Cuneo

Through the monitor

The Pearlfishers  was on throughout May at the Arts Centre, Melbourne. To find out more about the opera, read the synopsis or Opera Australia's Media Release.

The Top 10 Spooky Opera Moments

Last week, we here at OA were looking forward to embracing the bad luck and superstitions of Friday the 13^th of May 2011. As such, we developed a great competition using the hashtag #spookyopera to get your input as to what your favourite spooky opera scenes were, and then gave away 2 tickets to our 2011 Don Giovanni featuring Teddy Tahu Rhodes to a randomly-selected winner.

Twitter’s @Johnofoz took out the prize with his suggestion: “The Ghosts' High Noon from Ruddigore: Spectres, grisly hand, wind howl, bats, nightbirds wailing, black dog baying.”

His winning suggestion can be seen in action below as performed by the Southampton Operatic Society:

However many of you also expressed an interest in wanting to know which scenes got the most votes, so here are the Top 10 Spooky Opera Moments as voted by you and compiled from YouTube!

Pearlfection – a performer’s perspective (Part 3)

When Opera Australia opens The Pearlfishers in Melbourne, tenor Henry Choo will be centre stage as Nadir, making and breaking his vow of eternal friendship.  In the third of a series of blog posts, Henry takes us in to Sitzprobe, a seated rehearsal where the singers sing with the orchestra.

The Opera Australia Chorus

When people speak of opera, they often refer to the singers. Yet the singers are merely one of the principal ingredients that make an opera whole. There are many other contributors such as wig makers, makeup artists, costuming, stage crew, lighting crew, to name but a few.

 

Today is Sitzprobe, and it’s about the singers and orchestra. We’ve had five days off over the Easter break – a rare luxury during a rehearsal period – and it’s now time to hit the ground running with the players of Orchestra Victoria.

 

Pearlfection – a performer’s perspective (Part 2)

In the second of a series of blog posts for Opera Australia, tenor Henry Choo lifts the curtain on The Pearlfishers rehearsals, and takes us behind the scenes on their first day in the theatre in Melbourne. 

Henry Choo and Andrew Keshan

There should be a buzz in the air but all’s quiet in the warren-like back-stage corridors of Melbourne's Arts Centre as it’s 9.15am, and the majority of the company are not expected until 10.00am for a 10.30am start.

I’m always excited by the first day in the theatre when rehearsing a production. Things become more “real”. The sets are no longer substituted as they are in the rehearsal studio, the lighting state on stage creates mood and visual contrast, and our costumes, in conjunction with our stage-makeup, transform us from our usual selves into our portrayed characters.

The application of my makeup takes roughly 20-minutes. Head of Makeup, Andrew Keshan, greets me with a friendly smile and we chat (usually somewhat animatedly) about the latest camera equipment or most recent photographic shoot.

I’ve been asked to grow my hair longer for The Pearlfishers so that I won’t have to use a wig. This suits me, as I’m not a fan of wigs – loose strands of hair invariably find their way into my mouth when singing.