Backstage with Matthew: The Return of Live Opera: Part 2
Since last week, the stage has transformed from a platform with a roof waiting to be hoisted up, to a fully-fledged theatrical stage, replete with set and video walls. The roof was hoisted using motors and pulleys, and for a day or so you could see straight through to the beautiful Marin hills! But then we added the side panels, as well as lighting and video equipment rigged on trusses.
In the bottom two photos you can see four long video screens which will be an integral part of the production. They will track on and off stage (moving left to right) and will be able to make one large screen or four separate screens, creating different playing areas on the set. The two large video screens left and right will be image magnification screens so that you can see close-ups of the performers, similar to OperaVision.
Talking of "first times back," a huge first time back was the return of the San Francisco Opera Orchestra, after 16 months without being able to play together. We have an orchestra of 18 musicians, including five wind and brass players (a first for the Bay Area post-pandemic I believe), and it was a pinch-me moment when they started playing! All of the promise of collaborative music-making came sweeping back, and the outdoor space at the Marin Center was filled with life and beauty.
The Orchestra is set up in a dedicated tent just behind the stage and will be connected to the singers onstage via live relay. The music from the stage and orchestra tent will be mixed together and sent to your car FM system where you can enjoy the intimacy of the sound. Although the Orchestra is reduced (to allow for necessary social distancing), the sound was full and glorious, and it was a moment I will never forget.
As you can see in these photos, we have clear panels that separate the wind players from the strings and percussion. We are also using specially designed wind masks that limited aerosol dispersion (also designed by Dr. Sânziana Roman from UCSF and the SF Opera Costume Shop). Our production teams have been trying to find just the right material for the clear shields to give safe protection but also be see-through. The thicker plastic you see on the side shields was too hard to see through, but our Technical and Safety Director Erik Walstad had a "eureka" moment. He nipped over to the Ace Hardware and returned with boxes of shrink-wrap window coverings. They worked perfectly and you can see from the clarity in front of co-principal French Horn, Kevin Rivard, just how clear it is!
We're so happy to have with us debuting conductor Roderick Cox. Roderick was due to make his debut with us in Barber this year, and with the Metropolitan Opera in the same opera. He has been Associate Conductor with the Minnesota Orchestra for three years, and pre-pandemic was debuting at the LA Philharmonic, BBC Symphony, and Cleveland Orchestra to name just a few. Here's Roderick pictured outside the main stage!
Rehearsals are going very smoothly under director Matthew Ozawa, and the team is powering through ensembles and arias, overtures and finales! This week Lucas Meachem, Daniela Mack, and Alek Shrader arrive after their quarantine, and we are looking forward to welcoming them. Every action has to be kept socially distanced and Matthew Ozawa is doing an extraordinary job creating energy and togetherness within these parameters. The singer masks are allowing us to be in rehearsal together but will be removed once we get into performances.
The ingenuity of what is coming to life is amazing. Piece by piece, an outdoor theater is being built, musicians are reconnecting, and singers are creating a story that tells of the return of opera. Soon, we will add in the audience and opera will be reborn! I so look forward to sharing it with you.
With warmest wishes,
Matthew