| by Bill Fark "San Diego Opera advertises "music worth
seeing." What the company does is also worth reading, in a recently published book by
ML Hart, "The Art of Making Opera: Two Seasons With San Diego Opera."
Hart says in a foreword that she has been
hooked on opera since age 12, when she saw Mario Lanza in the movie "The Great
Caruso." From that exposure to opera at its most popular (and bastardized) form, Hart
pursued a career in theater (stage design) with interests in history and sociology.
Because of the great number of photos and
the expensive heavy paper stock, the book falls in the coffee-table category. It's too
large and hefty to snuggle up with in an easy chair, but ideal for perusing at leisure
when it's solidly supported.
Hart works in depth. During the two years
at San Diego Opera, she followed everyone involved in putting the show on the road.
although she covered two seasons' operas from design to rehearsal to opening night, she
organizes the book on different phases of production, with illustrations from the
different shows.
Her sequence begins with a foreword by
conductor Richard Bonynge, who has long been associated with San Diego Opera. The first
meaty section is "It Begins With the Music," about the orchestra and conductors,
represented by "Turandot."
"Bringing It to Life"
concentrates on directors, with images from "Tosca." "Nuts and Bolts,"
with illustrations from "Aida," covers design and backstage preparations.
"The World Premiere," a rare event in regional opera, is that of Myron Fink's
"The Conquistador."
Others who provide support but are not
usually identified are the chorus, "Musical Tapestry"; supers and dancers,
"15 Seconds of Glory"; and stage managers and technical crews, "Running the
Show."
Principal singers, who may cost a lot
more in the coin of stress than their large salaries, get their turn in "Taking the
Lead."
Expanding on the theme, "In the
Spotlight -- One Singer, Two Roles," is an account of how baritone Erich Parce
switched from the dramatic "The Passion of Jonathan Wade" to the hilarity of the
romantic valet in "Cinderella."
Hart also looks at the business of art,
outreach programs, and the reason for it all -- the audience. She includes an updated
version of David Gregson's "Nights of Glory: A History of San Diego Opera," that
would have been improved with photos to break up the gray print.
A 30-year chronology of the company lists
performances, operas, composers and artists."
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all material (c) 1998 by Bill Fark and North
County Times
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