Blogs

Props & Costume Fun!

There was a lot of laughter in class this week. As soon as we arrived, we were given a challenge: suppose we had built the props for an opera, and during the rehearsal period (otherwise known as the last minute) the director wanted us to make modifications. For Prop Supervisor Cindy Felice, this comes as no surprise. Sometimes the lights at the set change the colors of the props and they need to be repainted. Or a prop can be too heavy for a singer to carry comfortably. Or say, the anvils in Il Trovatore don’t clang properly. Or the director simply changes her/his mind at the last minute and requests small--or significant—changes.

Adult Ed Summer Class Blog 4

We students were given lists of actual modifications that Cindy and her department had to execute in previous operas. My table was given this scenario:

The pots of flowers need to appear more wilted & dead, as if Figaro landed on them when he jumped from the window. Please make them more comic.

Our teacher Alexis had provided us with props that we could modify and grapple with to resolve our various problems. Our group grabbed a bunch of plastic flowers, leaves, and baskets that we then crushed and discolored to make them appear as if someone had jumped into them from above. [We knew this was a trick question, however, because Figaro did not land on them, he just covered for Cherubino.] We added a real shoe into the mix for humorous effect, and voilà, our prop was ready.

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The rest of the class also came up with fun and creative solutions to their challenges, amidst much laughter and delight.

Adult Ed Summer Class Blog 4

 

What does a good design team need? A good bladder!

Suppose you had to design an opera based on a stapler. Could you do it? Sue Bonde could. Sue’s a costume designer for Portland Opera. She’s part of the design team that includes the set designer, the lighting director, the prop supervisor and several others whose work visualizes the ideas of the stage director.

Also visiting our class was scenic designer Curt Enderle and general director Christopher Mattaliano, here in his capacity as opera director. Curt, a Drammy award winner, also has extensive experience bringing opera to life. Curt and Sue worked closely together during Portland Opera’s recent production of Galileo Galilei. They spent two hours giving us a general overview of how they combine a director’s ideas with their own creativity, experience, and brilliance to create a dazzling visual production.

Basically, the collaboration starts with an initial meeting with the opera director. The director’s concept can be specific (“I want the set to look like this painting”) or vague (“I see gold & orange & heat & tension.”) What’s crucial is that the design team is inspired by this initial meeting. They then feverishly begin doing research, developing ideas, making sketches, shopping for fabrics, solving problems, and in Curt’s case, creating a three dimensional model, all in scale. Sue and Curt brought examples of their drawings, models, and final costumes for Galileo Galilei. Each one was a masterful work of art in itself. We students oohed and aahed appreciatively.

Galileo Costume Rendering 1

Where do opera performers go on vacation?

Lea is taking our Summer Adult Education Class.  We asked Lea to tell us about her experience throughout the class.  Enjoy!

 

I have a confession to make: My name is Lea and I am not fond of modern opera. Feed me the familiar strains of repeating stanzas in an aria from the19th century, say, “Una furtiva lagrima,” and I’m in heaven. But my likes and preferences are changing, thanks to what I’m learning in this opera class.

Last week, we students wrote dialogue for a version of the Greek myth, Daedalus and Icarus. This week, Alexis invited the three professionals who had spent the week carrying our libretto to fruition: John Vergin, who composed the music, Hannah Penn (mezzo) who sang the roles of Icarus and Ariadne, and André Chiang (baritone) who sang the role of Daedalus.

 

You may remember Hannah during her tenure as a POSA (Portland Opera Studio Artist), when she had 24 hours’ notice before she had to perform the title role of Carmen—which she did to huge acclaim.  You may remember André, also a POSA, who recently performed the title role of Galileo Galilei, spanning a 40-year age range—also to huge acclaim.
 

 Andre Chiang Photo

Hannah Penn and André Chiang