While of course it's optimal for a conductor to be able to have direct eye contact
communication with singers and instrumentalists - and I can't vouch for the conditions at
Disney Hall that altered that in the case mentioned below - I'm not sure why a
*backstage* monitor would be the least bit objectionable. Especially if such a monitor
makes it infinitely easier to coordinate between the conductor and the banda. And I think
you will find that any large opera house nowadays would avail themselves of such things.
What *is* it about so many opera buffs seeming so *afraid* of 20th century (not even
21st century, for god's sake) technology when it can be used in a proper, discreet and
beneficial way? I understand the basic arguments against miking singers, but an objection
to a backstage monitor? Really? Shall we just get rid of lighting design while we're at it and
go back to candles and gaslight? I just don't get it.
On Sun, 8 Jan 2017 09:49:48 -0800, estelle gilson <[log in to unmask]> wrote:
>And Gregory Buchalter had a monitor of Levine next to him.
>Monitors are not a happy solution in operatic matters. -----
>Dudamel conducted a staged Don Giovanni in Disney Hall, in which he
>faced the orchestra and the soloists had to follow him on monitors -----
>especially not in Mozart!!!
>
>Estelle
>
>
>
>>Indeed they did, even showing them onscreen (and showing Levine NOT
>>conducting that
>>music). If it sounded otherwise, there's an engineer to blame.
>>
>>The stage band conductor was Gregory Buchalter.
>>
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