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Subject: Amplification in the Opera House (formerly RE: SALOME opening night MET 5 December)
From: MusicalTheatreQueen <[log in to unmask]>
Reply-To:MusicalTheatreQueen <[log in to unmask]>
Date:Thu, 8 Dec 2016 23:51:21 -0500
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In general, I would agree - leave the microphones and the amplification out of the opera house if the opera was composed without amplification in mind.

But I am willing to make some exceptions.  The first professional opera production I ever saw was NYCO's famed production of Mefistofele with Norman Treigle in the early 1970s).  Later I got to see it with Sam Ramey as well.  The effect of the offstage chorus in the prologue and epilogue still has my arm hairs tingling!

MTQ
====

-----Original Message-----
From: Discussion of opera and related issues [mailto:[log in to unmask]] On Behalf Of [log in to unmask]
Sent: Thursday, December 08, 2016 11:25 PM
To: [log in to unmask]
Subject: Re: SALOME opening night MET 5 December

On Thu, December 8, 2016 8:17 am, Takis Pavl. wrote:
> If as a stagedirector you need to use amplification in a scene because 
> you envisioned Jochanaanin a cave under the stage, you’re in the 
> wrong genre. Opera is N O T to beamplified for any reason. It means 
> you, as an operatic stage director need tofind a different way to 
> create your eerie effect. I hope there will be lettersbecause it’s 
> depressing to see the MET accepting such a development in 
> stagedirection and the audience not protesting.

I'll agree that productions should work to make it unnecessary, but amplification for some offstage roles isn't new at the Met with this production, is it? (Dragon-Fafner is another usual one, right?)  I have to think they'd have resisted if it was an all-new idea just a few years ago.


--scott

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