Comments on: Opera? or Musical? or Musical Drama? http://rogerbourland.com/2008/02/27/opera-or-musical-or-musical-drama/ Roger Bourland writes about music and life Fri, 19 Mar 2010 02:19:13 -0700 http://wordpress.org/?v=2.8.6 hourly 1 By: chris_foley http://rogerbourland.com/2008/02/27/opera-or-musical-or-musical-drama/comment-page-1/#comment-72038 chris_foley Thu, 28 Feb 2008 14:38:26 +0000 http://rogerbourland.com/blog/2008/02/27/opera-or-musical-or-musical-drama/#comment-72038 I've been involved in the new opera creation process for the last 6 years as a coach/repetiteur at Tapestry New Opera Works in Toronto. One of the most fascinating parts of the process is the extensive workshopping that happens before an opera goes to production. We are very blessed to have the resources (at all three levels of government as well as numerous private sources) to be able to workshop each and every new opera that eventually makes it to the stage. And it does make a difference--a big one. Whatever insecurity at a perceived loss of control by composer or librettist is gained by tightening up the works' form (and adapting it to the singers' unique abilities) and the confidence that the work will indeed ring true by the time production starts. From what I've heard it seems that there isn't so much of a workshop process in the American new opera scene, perhaps because of a lack of funds (which all end up going to the production itself), lack of musico-dramaturgical experts, or lack of singers experienced in the craft of utilizing text, acting, voice, and their own body to collaborate on helping to perfect the composer/librettist's work. Again, best of luck and I look forward to following Homer in Cyberspace's progress! I’ve been involved in the new opera creation process for the last 6 years as a coach/repetiteur at Tapestry New Opera Works in Toronto. One of the most fascinating parts of the process is the extensive workshopping that happens before an opera goes to production. We are very blessed to have the resources (at all three levels of government as well as numerous private sources) to be able to workshop each and every new opera that eventually makes it to the stage. And it does make a difference–a big one. Whatever insecurity at a perceived loss of control by composer or librettist is gained by tightening up the works’ form (and adapting it to the singers’ unique abilities) and the confidence that the work will indeed ring true by the time production starts.

From what I’ve heard it seems that there isn’t so much of a workshop process in the American new opera scene, perhaps because of a lack of funds (which all end up going to the production itself), lack of musico-dramaturgical experts, or lack of singers experienced in the craft of utilizing text, acting, voice, and their own body to collaborate on helping to perfect the composer/librettist’s work.

Again, best of luck and I look forward to following Homer in Cyberspace’s progress!

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