Tag Archives: Rehearsals
This week we open the final main stage production of LA Opera’s 2016/17 season – Tosca. If you’ve been following along on social media, you’ve seen a host of rehearsals in progress. As the elements come together this week, we thought we’d break it down and show you how an opera comes to life.
GETTING TO KNOW TOSCA
Several weeks ago, we started with studio rehearsals. These are musical and staging rehearsals where the principal cast and the chorus go through the music, sometimes individually, sometimes together, to get a sense of the show’s flow, the acting involved and how the director expects it to all look. These rehearsals are conducted in rehearsal halls with a piano, not on the stage and without many of the main elements of the opera (the orchestra, the lighting, the costumes etc). Each scene is mapped out on the floors with tape so that the cast can rehearse their roles in their proper positions, relevant to each other and the chorus, as well as to the sets and props on stage.
As I write this, Angela Meade, Jamie Barton, and Russell Thomas are on-stage rehearsing a scene from our upcoming production of Bellini’s Norma. It’s the end of Act I and Norma (Meade) has just discovered the affair between the man she loves, Pollione (Thomas), and Adalgisa (Barton), a younger priestess. If you think the story’s dramatic, you should hear their voices! Unbelievable voices – let’s call them vocal fireworks because of their equally explosive and yet restrained nature – are at the center of Norma. It’s compelling to witness.
You can literally feel their voices vibrate through the space, giving you goosebumps. It’s a heroic vocal energy that only opera singers possess and share with the world. While Norma is known as an opera lover’s opera, for the opera novice it showcases the beauty of the operatic voice. It reminds you that this art form is built on its power, and this cast’s voices are beyond. The combination of Meade’s soprano, Barton’s mezzo-soprano, and Thomas’ tenor voices surround you lovingly throughout this bel canto opera (learn more about bel canto here).
As I was reminded during last week’s Piano Dress Rehearsal, opera singers aren’t amplified. In other words, there are no microphones like you’d find at a rock concert. It’s these powerful voices that are blowing the Dorothy Chandler Pavilion roof off. (Oh, and it’s not an El Niño either…I checked.)
Check out this short clip of Angela Meade discussing how demanding Norma is vocally: