CREATING AN OPERA

The story of an opera is not usually an original work. Opera libretti may be based on plays or novels, on Bible stories, on mythology or fairy tales or on historic events. Some composers write their own words, but far more often the text is written by a librettist. The composer not only writes the musical lines but also orchestrates them; that is, writes the parts for each instrument of the orchestra as well as for each singer. The finished product is the orchestral score used by the conductor during rehearsals and performances. Piano-vocal scores are often available. These have the musical lines for all of the voices, but with the music for the orchestra reduced so that it can be played on the piano. They are used by the singers as they learn their roles and during early rehearsals.

Once the score for a new opera is finished, or an established work is chosen, the general director or impresario of the producing company, in consultation with his staff, chooses the conductor, director, designers, and singers. The conductor and director agree on the exact version of the opera that will be used. The director decides how to interpret the opera and works with the lighting, set and costume designers to translate this interpretation into the finished production. Companies usually own some productions and rent others: Aïda was built by, and belongs to, San Diego Opera; Idomeneo comes from San Francisco Opera.

Sometimes several companies will cooperate on a co-production. For example, Cold Sassy Tree was co-commissioned by San Diego Opera, Houston Grand Opera and others. Sets and costumes for the brand new production of Die Zauberflöte were designed for, built by and are owned by San Diego Opera.

When the musical scores have been rented, the music librarian indicates any changes and makes copies of the parts for all members of the orchestra.

Costumes and wigs are created or rented. If there is a ballet or dance as part of the opera, a choreographer is chosen to create the dance patterns. If the opera is new to the leads or principal singers, they start to learn their parts. All this is done many months, sometimes years, before the scheduled performance date.

The production manager deals with scheduling of rehearsal time for orchestra, chorus, principal singers, etc., and for the arrivals of people, sets and costumes.

The first to start rehearsing are the members of the chorus under the direction of the chorus master. Since most operas are sung in foreign languages, singers who do not speak the language of a particular opera must learn the words phonetically.

The early music rehearsals are with piano only, sometimes led by the assistant conductor. There are also staging rehearsals, in which the characterizations are discussed and the participants are given the blocking (specific movements, entrances, exits, etc.) by the director. This is done for everyone who will appear on stage: leads, chorus, and supernumeraries, or supers. The dancers are taught the choreography.

The conductor begins to rehearse the orchestra. Singers are added at a Sitzprobe, or seated rehearsal. This is the first time the orchestra and singers work together.

During a rehearsal, the stage manager and the production assistants help the director by keeping track of the staging, telling the singers when and where to enter, and so on. The property managers set up the props (the small items used by the performers).

Meanwhile, under the leadership of the technical director, the sets are loaded into the theatre, and the scenery and props are set up by the stagehands. Flymen work the pieces of the set which are hung from above the stage and raised and lowered by ropes and pulleys. Electricians install any necessary wiring, and lights are hung and focused. The stagehands also make any set changes which may be needed between the acts of a performance. The sound board operator is responsible for sound effects such as bird calls, thunder, and shots. The lighting board operator operates the lights from a large panel, creating changes in time and other special effects.

The libretto is translated into English and slides are made or rented for the supertitles.

Finally, all is brought together at the Dress Rehearsal. Last-minute adjustments are made during and after this rehearsal. The opera is ready for Opening Night.

During a performance, the stage manager dictates every technical aspect. Directions are given through a headset which communicates with assistants, members of the stage crew, and production staff, stationed throughout the theatre.

THERE’S MORE! The administrative staff at San Diego Opera includes the following:
Board of Directors — A group of men and women in the community who represent the contributors to the Opera and help set its policies.
General Director — Hired by the Board of Directors and responsible for every aspect of the company.
Music Administrator —Communicates with conductors and artists. Makes arrangements for royalties for music, orders scores, works out cuts with conductors, assists at union negotiations, and solves any problems which are related to the music.
Director of Production — Responsible for planning all aspects of the physical production, including the budget and negotiations with all of the unions.
Director of Development — Raises money to help fund productions. Ticket sales cover only about 55% of the cost of producing an opera!
Director of Finance — Responsible for the budget and controls spending.
Director of Marketing and Public Relations — In charge of advertising and supervising ticket sales; maintains contact with international, national and local press.
Director of Education and Outreach — In charge of all of the education and outreach programs for students and adults.

Most of the above have Assistants. There are also Secretaries and Receptionists. It is not surprising that it can take between 200 to 300 or more paid personnel to put on an opera! They are assisted by a small army of Opera Association members, who support the Opera, and by many volunteers, such as the Docents, who bring opera programs to the schools.