A TASTE OF OPERA AT TOPO’S 403

Topo’s 403 is pleased to announce “A Taste of Opera”, a musical and culinary special event.  The restaurant will serve a four course tasting menu throughout an informal concert given by faculty and students of the Indiana University Jacobs School of Music Department of Opera Studies.

The musical program is hosted and directed by Wolfgang Brendel, Professor of Voice, and accompanied on piano by Kevin Murphy, Professor of Voice and Head Opera Coach.  Brendel has selected 7-8 top vocal students from the Department to perform pieces ranging from Opera and Operetta to Musical Theater and Holiday Classics.

The event will take place Wednesday, December 3, 2014 beginning at 6pm.  The $45 prix fixe menu will include three small plate courses and a dessert course, to be previewed on the Topo’s 403 website at www.topos403.com.  Wine pairings will also be available.  Additionally, 20% of the event’s sales will be donated to a student aid fund founded by Professor Brendel for the IU Jacobs School of Music.

Reservations for dinner seating at 6pm are kindly requested, and it is suggested to book early as space is limited.

 

Topo’s 403 serves a fresh Greek and Mediterranean-inspired menu of mezedes, salads, soups, entrees and desserts from $5 to $30.   The Taverna at Topo’s features premium liquors and signature cocktails, wine list featuring the Mediterranean regions as well as new world options, draught and bottled beers, and live music most Thursdays through Saturdays.

Topo’s 403 regular hours of operation are 5pm to 10pm Tuesday through Saturday, with late-night menu available after 10pm Thursday through Saturday.  Topo’s 403 is located at 403 N. Walnut St., on the corner of 8th Street and North Walnut Street.  Reservations are accepted at 812.676.8676 and via www.topos403.com.

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MUSIC REVIEW: “In sum and total, this ‘Last Savage’ is a hoot”

By Peter Jacobi

 

Zany. Manic. Silly. Absurd. Laughter producing. With just a touch of the poignant. The question raised: How much results from the production and how much from the work itself?

The current version of Gian Carlo Menotti’s “The Last Savage” on stage at the Musical Arts Center is a riot. Its sets and staging were a huge success three years ago at the Santa Fe Opera, where the folks in charge decided that the 100th anniversary of the composer’s birth was worth a gamble: the revival of a Menotti opera that had been critically torn to shreds when premiered. The gamble worked in Santa Fe.

Likewise, those who determine the repertory of Indiana University’s Opera Theater decided what was done in Santa Fe should be attempted here. The scenery and costumes designed by Allen Moyer were imported. So was stage director Ned Canty. So was choreographer Kyle Lang. Matters musical — conductor (Constantine Kitsopoulos), chorus master (Walter Huff), orchestra (IU Symphony), and singers (two student casts and a chorus) — were very nicely taken care of here. Lo and behold, the gamble has worked again.

The question posed above, however, remains: Credit the production or Gian Carlo Menotti’s music and libretto?

Quite frankly, I don’t know, having not seen or heard the opera before. And quite frankly, for the moment, I don’t care. Director Canty was right when, during the rehearsal period, he told me, “There are plenty of operas that make us cry or laugh, but ‘The Last Savage’ offers delight, and we need delight.”

Menotti’s story is thin. We meet an industrial magnate from Chicago who plans to marry off his daughter to an Indian prince. The daughter complicates matters; she’s an anthropologist on the hunt for the last primitive man; marriage is not on her mind. Dad hires a young Indian fellow named Abdul to act the part of savage. Rather than falling for the prince, the daughter falls for the hire, while the prince decides he favors a servant girl in his father’s palace. Anthropologist and Indian fellow move into a cave with modern conveniences, of course.

There’s plenty of room for satire in the story and in the production. The hired “savage” turns out to be the most worthy character, least warped by the high life of his native India or the confusing high life in Chicago. Baritone Robert Gerold played the role on opening night with considerable charm. It became easy to side with his portrayal of Abdul and worry for the befuddled young man in the unfolding chaos. Please note: I have not yet seen the alternate cast but will this week and, then, report on it.

Coloratura soprano Martha Eason gave Kitty, the anthropologist, plenty of personality, a flexible voice, and a commendable way with diction, unusual for singers of such a vaulted range.

The cast is huge for so slender an opera, but everyone — from the majors to the comic and bearded male servants running about in body stockings, turbans, and what looked like diapers — contributed to the comic atmosphere.

Baritone David Rugger portrayed the daughter-loving and money-loving father of the independent Kitty with verve and a good voice. Bass baritone Jeremy Gussin and mezzo soprano Olivia Thompson added fuel for laughter as the clownish Maharaja and Maharanee. Their son, Prince Kodanda, is given a large-sized presence by tenor Edward Atkinson. His eventual partner in the swiftly changing romance department is a fine soprano, Summer Aebker, as the servant Sardula.

Keeping control and adding gusto was music director Constantine Kitsopoulos, who made sure all the musicians, those on stage and in the orchestra pit, were doing justice to Menotti’s music, which may not be the composer’s very best but certainly features some effective arias and ensembles. The English supertitles for the opera’s English libretto helped listeners keep track of the verbal goings-on; they were supplied by the Santa Fe Opera.

Plaudits also to lighting designer Lee Fiskness, whose good work casts the right lights and shadows on sets that are, by themselves, chuckle inducing.

In sum and total, this “Last Savage” is a hoot.

© Herald Times 2014

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The Last Savage: Menotti’s Bow To Screwball Comedy

By George Walker

“…imagine if Donizetti and Puccini collaborated on the score of a Doris Day-Rock Hudson movie.” stage director, Ned Canty

Eric Smedsrud and Angela Yoon as Menotti's leopard skin clad lovers.

Eric Smedsrud and Angela Yoon as Menotti’s leopard skin clad lovers.

Opera and musical fans who think that all Gian Carlo Menotti wrote was the elegiac Amahl and the Night Visitors should be ready to be quite delightfully amazed with IU Opera Theater’s production of his The Last Savage. I got a sneak preview at Thursday night’s dress rehearsal.Who knew or even suspected that Menotti could write the words and the music for an international satire on love, politics, and the arts that still seems fresh, charming and new fifty years later?

The Last Savage is at its heart a silly love story. Mr. Scattergood, Reuben Walker, an American millionaire an equally wealthy Maharajah, Andrew Richardson, seek to unite their fortunes with the marriage of the marriage of their children. Neither the American’s perky grad student daughter Kitty, Angela Yoon, nor the Maharajah’s somewhat sulky son Prince Kodanda, Will Perkins, are particularly interested in the match, but major fortunes are at work.

The Maharajah’s complex of family problems and the millionaire’s complex of management issues are very neatly and amusingly dramatized, sung about and acted out. The marriage is tentatively agreed upon, but first the daughter demands the right to search India for a primitive man and to civilize him for her thesis. The two fathers hire a young man, Abdul, Eric Smedsrud, to play the savage. Complications, as they say, ensue.  They’re all stock tropes from the musical comedy, operetta and opera closet, but Menotti’s opera makes some of them quite fresh and all of them welcome.

Abdul, the faux savage is caught and tamed by Kitty. Then he’s treated to a mind numbing display of what passes for culture at a monster reception. There are competing religions that all claim to have the correct address for god, and philosophy that says there is no God.  An Andy Warhol look alike does a Jackson Pollack style mechanical painting. A peace signing poet mouths doggerel. A trio and a vocalist satirize the hard edged abstract classical music of the 60s. It’s all overwhelming, but very funny. Abdul has a quite appropriate melt down and flees back home and out to a cave in the jungle.

It’s a pinnacle of the action…Will Kitty get back together with Abdul or marry the Prince. Will the Prince have to marry Kitty or might he wind up with the family servant Sardula, Olivia Yokers, that he’s always pined for? And what about the running gag between Mr. Scattergood and the Maharajah’s wife, Olivia Thompson, about a bit of past history that may be more than just a bit?

I’ve shared some of the story with you, but haven’t touched on the very colorful production. The stage design is full of modern approaches mixed with old style tricks for the eye that seem to take scenes miles deep into the stage and right up front as well.  The singing was assured and strong. Acting by all was very good. The dancing by the Maharajah’s multi tattooed servants is simply hilarious.

IU Opera Theater’s production of Gian Carlo Menotti’s The Last Savage conducted by Constantine Kitsopoulos with stage direction by Ned Canty is a shamelessly campy, very colorful production that works hard to please, and please it does. There’s more than enough music and vocal display for opera fans and plenty of spectacle and action for those who prefer musicals.

The Last Savage plays November 14, 15, 20 and 21 in the Musical Arts Center. You can find this review and an interview with singers who play the “savage” on our web site at WFIU dot ORG/arts.

At the theatre for you, I’m George Walker.

http://indianapublicmedia.org/arts/28548/

© WFIU 2014

 

 

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Live stream this weeekend of an opera you have never seen on screen!

The IU Opera cast performs a scene in "The Last Savage" on Tuesday.

The IU Opera cast performs a scene in “The Last Savage” on Tuesday.

Indiana University Opera Theater is live-streaming Giancarlo Menotti’s The Last Savage this coming weekend, Nov 14 & 15, in an acclaimed production from Santa Fe.

There are no videos available of this opera. This could be your only chance!

Click here to watch.

 

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Jacobs’ newest opera searches for the world’s last primitive man

The IU Opera cast performs a scene in "The Last Savage" on Tuesday.

The IU Opera cast performs a scene in “The Last Savage” on Tuesday.

By Sarah Panfil

 

Dancers covered in greenery scamper around the center stage of the Musical Arts Center. A woman in a pink explorer’s costume and high heels runs across stage through the forestry in search of a wild man.

A moment later, the scene switches to a palace in India. Actors in glittering and elaborate costumes gather to see a caged man brought in front of them during rehearsal for the upcoming Jacobs School of Music opera, “The Last Savage,” 
Tuesday night.

The semester’s last opera will open 8 p.m. Friday night at 
the MAC.

“The Last Savage” is a comedic opera by Italian-American composer Gian Carlo Menotti. The piece follows the story of young anthropologist Kitty on her quest to find a primitive man, “the last savage.”

Kitty’s millionaire father wants her to forgo her plans and marry the son of a maharaja, an Indian king. Together with the maharaja, her father stages the discovery of the supposed “last savage,” who is really just a peasant named Abdul.

Mr. Scattergood, played by Reuben Walker, performs with Kitty, played by Angela Yoon, during the dress rehearsal for IU Opera's production of "Last Savage" on Tuesday in the Musical Arts Cetner.

Mr. Scattergood, played by Reuben Walker, performs with Kitty, played by Angela Yoon, during the dress rehearsal for IU Opera’s production of “Last Savage” on Tuesday in the Musical Arts Cetner.

The opera is packed with wit, trickery and humor, as well as commentary on the culture of the 1960s, according to the 
music school.

Despite Menotti’s fame as a composer, the original premiere in 1963 at the Opéra-Comique in Paris was met with heavy 
criticism.

In 2011, the Santa Fe Opera revived Menotti’s piece to an entirely different reaction — critics praised the performance.

This year much of the Santa Fe Opera’s artistic team, including stage director Ned Canty, will help produce the opera at 
the MAC.

Frequent guest conductor Constantine Kitsopoulos also joins the School of Music for the production of “The Last Savage.”

Kitsopoulos has conducted at Carnegie Hall and led orchestras on Broadway.

At Jacobs, he brings his experience to a school environment. Yet, Kitsopoulos said, Jacobs manages to put on professional performances.

While Jacobs has done more notorious dramatic pieces in the past, “The Last Savage” is 
obscure and humorous.

“It’s a good piece and it’s worth presenting,” Kitsopoulos said. “Menotti is making fun of the high society and their attitude towards the working class. It’s a satire.”

As an opera, music is crucial to the performance’s success. Kitsopoulos said the essence of the opera is in both music 
and text.

From there, he added, the artistic team adds stylistic details like dialect. The opera is performed in English, though it was originally written in Italian.

“All these little things inform the style and approach, but I always go back to music and text,” Kitsopoulos said. “The music is called upon to convey emotions, to build tension, to be playful or comedic.”

Kitsopoulos also said “The Last Savage” uses music in an uncommon way. In most operas, the orchestra is used to establish transitions in the performance.

“Menotti in this particular piece puts the onus on the vocal line to change the key and take us to a different place,” he said. “In that way, it’s unique.”

The comedy, like the music of “The Last Savage,” also relies heavily on timing.

Maharaja, played by Andrew Richardson, center, performs during the dress rehearsal of IU Opera's "Last Savage" on Tuesday in the Musical Arts Center.

Maharaja, played by Andrew Richardson, center, performs during the dress rehearsal of IU Opera’s “Last Savage” on Tuesday in the Musical Arts Center.

“Comedy doesn’t happen by accident,” Kitsopoulos said. “(Stage director Ned Canty) knows how to teach comedy. He’s a virtuoso of teaching comedy because he himself started out as an actor and he’s also very musical.”

In many ways the piece is widely known as a challenge — little known, unique and comedic. The opera also features high soprano keys and musical challenges.

There are two casts for “The Last Savage.” Martha Eason, who stars as Kitty for the opening night cast, said although it is vocally challenging the role is well worth the effort.

“She’s stubborn and school smart but she’s not very life experienced,” Eason said, laughing as she describes Kitty. “This role is probably my favorite I’ve ever done just because of who Kitty is and what she gets to sing.”

Eason is a master’s student at IU, pursuing a degree in performance. “The Last Savage” will be her third opera with IU.

She said she chose IU in part due to its opera performances, of which there are six per year.

The Jacobs School chooses a wide variety of operas to perform throughout the year.

Eason said “The Last Savage” especially appeals to a 
modern audience.

“This is like modern sitcom comedy, things that a modern audience will find funny.” Eason said. “There’s a duet about incest. I get to sing the word ‘superman.’”

On set, there are high expectations for the cast. Music and lines must be memorized and 
well-rehearsed by the first 
practice.

Still, the cast, crew and artistic team manage to make the experience fun.

“Especially working on a comic opera,” Eason said, allows for some playfulness during rehearsal. “We kind of just laugh at everything.”

Robert Gerold, who plays Abdul in the opera, is Eason’s counterpart. Gerold is a junior who transferred from a school in his hometown of New York City. He said he agrees with Eason about the appeal of the show.

“It is a throwback to an earlier time, and it’s really funny how it pokes fun at itself,” Gerold said. “I’m still laughing like an idiot at certain parts.”

There is a deeper meaning to take away from the opera’s satire, Eason said. However, both Eason and Gerold agreed that the highlight of the opera is comedy.

“You have alcohol, you have sex and you have leopard print bikinis,” Eason said. “It’s really 
lighthearted.”

In addition to the opening this Friday night, “The Last Savage” will also be performed 8 p.m. Nov. 15 and 21 and 7 p.m. Nov. 20. Tickets are available at the MAC box office or online at  music.indiana.edu .

 

© Indiana Daily Student 2014

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Mezzo Soprano Jamie Barton (MM ’07) and baritone Allicock (MM ’07) Up for Major Award

jamie aubrey“The Warner Music Group is establishing the Warner Music Prize, a new classical music award, to be given annually to a musician between 18 and 35 who demonstrates exceptional promise during a season in which his or her performances are seen by a jury of classical musicians and music industry executives. The award includes a $100,000 cash prize, and a recording offer from Warner Classics.

For its first year, Warner is collaborating with Carnegie Hall: the performances to be judged are part of the hall’s current schedule, and the winner – who will be announced in the spring – will perform at Zankel Hall as part of the Warner Music Prize Gala, next Oct. 27. A spokeswoman for the prize said that the award would be associated with a different hall or performing arts institution every year. The prize is also supported by the Blavatnik Family Foundation, which underwrites educational, scientific and cultural projects.

The musicians under consideration for the 2015 prize are two sopranos, Sarah Shafer and Jennifer Zetlan; the mezzo-sopranos Jamie Barton, Rachel Calloway, Cecelia Hall, Alisa Kolosova and Peabody Southwell; the tenor Dominic Armstrong; the bass-baritones Aubrey Allicock and Evan Hughes; the violinists Augustin Hadelich and Itamar Zorman; the cellist Brook Speltz; the double-bassist Roman Patkolo; the harpist Sivan Magen; and the pianist Behzod Abduraimov.” – http://artsbeat.blogs.nytimes.com/2014/11/03/warner-music-to-offer-100000-classical-prize/?ref=arts&_r=3

More on Ms. Barton: http://jamiebartonmezzo.com/index.htm
More on Mr. Allicock: https://www.phoenixsymphony.org/musicians/aubrey-allicock

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IU Opera scores in the end zone with plans to stream at stadium

opera stadiumBy Marcela Creps
Herald-Times
Oct. 23, 2014

Ever been sitting in IU’s Memorial Stadium and wished someone would break into song in the end zone?

It may be a far-fetched dream, but it will become a reality Friday with “Opera in the End Zone.”

The event is a collaboration between the Indiana University Jacobs School of Music and IU Athletics. Friday’s 8 p.m. performance of “La Boheme” at the Musical Arts Center will be live-streamed onto the Jumbotron at Memorial Stadium.

Jacobs School of Music Dean Gwyn Richards said the school is always trying to think of ways to reach audiences. Certain shows are streamed live so anyone with an Internet connection can watch. Doing shows from the school’s facilities is often a necessity when it comes to sound, staging, lighting and more.

“But we’ve been trying over the last months to think of ways we can be in unusual spaces where you don’t expect to find us,” Richards said.

So Richards contacted IU Athletic Director Fred Glass. And the two talked about the possibility of streaming an opera in the stadium.

Associate Athletic Director Jeremy Gray said there were a number of factors to consider when the idea was first proposed. The logistics were worked out over the summer, but the one unknown and unpredictable factor is the weather.

“But it looks like the weather is going to cooperate, too,” Gray said.

Other logistics, such as where the audience could sit, were easily worked out. And there was no concern on the streaming connection needed for the simulcast.

“But one worry is that audio is super important in an opera. The one worry is with the cavernous stadium. Would there be an echo or a delay that would make it not work,” Gray said.

Richards is confident the sound will be clear for the audience.

“The speakers are in the scoreboard, so when the sound goes by you, it hits the north end of the stadium and comes back to you. That’s one of the challenges,” he said.

But Richards said if people sit close enough to the scoreboard, the sound will be fine.

The show will be a chance for people to experience the opera in a new and different way. And it’s also fulfilling the Jacobs School’s desire to reach new audiences.

“We’re always trying to get outside the cultural cave and try to allow people to have a more diverse listening experience than they usually do,” Richards said. “This is a great first opera, and it’s the basis for the musical, ‘Rent.’ And people may know it having come from ‘Rent.’”

For anyone new or curious to opera, Gray said this is a great opportunity to check it out.

“‘La Boheme’ is a very accessible opera, and this is an accessible location. So for people who want to try it for the first time, this is kind of ideal,” Gray said.

Although there may have been some concerns about the event, Richards said the unknown is exciting.

“We like the flying without a net feeling of it, too. We love the concept. We hope a lot of people will find this of interest,” he said.

“Who would have thought you could sit on the 10-yard line on a blanket and watch ‘La Boheme’ live from the Musical Arts Center,” Richards said.

If you go:

WHAT: Opera in the End Zone presents “La Boheme”

WHEN: 8 p.m. Friday. The southeast gate opens at 7:30

WHERE: IU’s Memorial Stadium

MORE: The event and parking are free. Patrons may sit on the south end of the field or in the stands. Patrons are encouraged to bring a blanket or lawn chair, however, four-legged folding chairs will not be permitted. Lawn chairs with horizontal bars are allowed. No alcohol or glass is permitted. Food and drink are welcome as long as they are consumed in the stands or on the blankets instead of the turf.

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OPERA REVIEW: ‘LA BOHEME’

Production ‘simply amazing,’ reviewer and acquaintance agree

By Peter Jacobi

 

A music-loving acquaintance sitting nearby on Friday evening, for the opening performance of “La Boheme” at the Musical Arts Center, put the matter succinctly.

To criticize what he had seen and heard during the opera’s first two acts, he said, would be “to nitpick.” It was “simply amazing,” he added, “that the production was the work of a university opera company,” so thoroughly professional was this IU Opera Theater-prepared “La Boheme.”

Having now seen the rest of Friday’s performance and the one on Saturday, I can agree on that assessment. To nitpick, I thought I heard the snow machine briefly scrape and a hum emanate from some other backstage device. I heard occasional lapses in what the casts were offering vocally. But this “La Boheme” delivered powerful vibes, both nights, and from start to finish: it was quite special.

The production, of course, builds from a familiar element. C. David Higgins’ absolutely stunning sets create magic in themselves and also in the way they shift so seamlessly from one to the next. The stage environment seems to have inspired soloists, choruses, and the Philharmonic to do their best, so to be found worthy of inhabiting this particular “La Boheme” world.

Those in charge of the on-stage and pit musicians also seemed inspired. Guest conductor Paul Nadler, a veteran music director, had the orchestra responding with a passion for Puccini’s remarkably rich score. And all the while, as a good opera conductor must, he took continued care to guide the singers into fusing with their instrumental counterparts. Nadler had excellent help from chorus master Walter Huff and children’s chorus master Brent Gault; their young and very young charges held their significant own in an incredibly vital Cafe Momus scene.

The musical preparers, in turn, had the help of Jeffrey Buchman, the visiting stage director who gave all on stage — from Mimi, Rodolfo, and their charming friends to every chorister and extra — guidance on how to be valid characters rather than simply awkward space fillers. The stage became 19th century Paris, with a multitude of lively Parisians.

As for the casts, let’s begin with the two Rodolfos. Both Andrew Maughan on Friday and Derrek Stark on Saturday possess good-to-listen-to lyrical tenors that can also belt the high notes. It’s not that easy to find suitable tenors for the role, but these fellows were suitable and capable, as well, in portraying the poet who loves and loses his soul mate.

Sopranos Sooyeon Kim and Lacy Sauter, the Mimis, impressively acted the part of the young heroine shadowed by death and were able to infuse the role and Puccini’s heartrending music with all the pains of a woman burdened by sickness and poverty but strengthened by love. Both singers, with continued study, should be able to make Mimi an important part of their continuing repertoire.

The production on view is helped immensely by those who were chosen as fellow Bohemians. Jaeho Lee, on Friday, lent a beautifully resonant baritone and a dramatic flair to the role of the painter Marcello. Saturday’s candidate, Ross Coughanour, likewise, threw himself into this critical part with verve.

The musician of the male quartet, Schaunard, and the philosopher, Colline, were well served, too: baritones Erik Krohg and Keith Schwartz turned into the musician; bass baritones Marcus Simmons and Steven Berlanga, the philosopher. Stage director Buchman made them believable buddies. Sopranos Meagan Sill and Chelsea Hart, as the teasing Musetta, gave Marcello plenty of argumentative love; they made their presence known. Still another baritone, Christopher Seefeldt, on both nights, added a pair of stand-out vignette roles: the landlord Benoit and a Musetta sugar daddy, Alcindoro.

Higgins’ sets and eye-catching costumes gained from the lighting of Patrick Mero. Italian diction coach Daniela Siena did her job; the casts’ sung Italian sounded on the mark. And Vincent Liotta’s English supertitles were authentic versus fancy, also to the good.

The package is worth seeing. If you haven’t, try to catch a performance next Friday or Saturday.

 

© Herald Times 2014

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IU Opera scores in the end zone with plans to stream at stadium

By Marcela Creps
The Herald-Times
heraldtimesonline.com

Ever been sitting in IU’s Memorial Stadium and wished someone would break into song in the end zone?

It may be a far-fetched dream, but it will become a reality Friday with “Opera in the End Zone.”

The event is a collaboration between the Indiana University Jacobs School of Music and IU Athletics. Friday’s 8 p.m. performance of “La Boheme” at the Musical Arts Center will be live-streamed onto the Jumbotron at Memorial Stadium.

Indiana University | Courtesy photoIU Opera Theater’s production of “La Boheme” will be displayed on a big screen at Memorial Stadium during “Opera in the End Zone” at 8 p.m. Friday.

Indiana University | Courtesy photoIU Opera Theater’s production of “La Boheme” will be displayed on a big screen at Memorial Stadium during “Opera in the End Zone” at 8 p.m. Friday.

Jacobs School of Music Dean Gwyn Richards said the school is always trying to think of ways to reach audiences. Certain shows are streamed live so anyone with an Internet connection can watch. Doing shows from the school’s facilities is often a necessity when it comes to sound, staging, lighting and more.

“But we’ve been trying over the last months to think of ways we can be in unusual spaces where you don’t expect to find us,” Richards said.

So Richards contacted IU Athletic Director Fred Glass. And the two talked about the possibility of streaming an opera in the stadium.

Associate Athletic Director Jeremy Gray said there were a number of factors to consider when the idea was first proposed. The logistics were worked out over the summer, but the one unknown and unpredictable factor is the weather.

“But it looks like the weather is going to cooperate, too,” Gray said.

Other logistics, such as where the audience could sit, were easily worked out. And there was no concern on the streaming connection needed for the simulcast.

“But one worry is that audio is super important in an opera. The one worry is with the cavernous stadium. Would there be an echo or a delay that would make it not work,” Gray said.

Richards is confident the sound will be clear for the audience.

“The speakers are in the scoreboard, so when the sound goes by you, it hits the north end of the stadium and comes back to you. That’s one of the challenges,” he said.

But Richards said if people sit close enough to the scoreboard, the sound will be fine.

The show will be a chance for people to experience the opera in a new and different way. And it’s also fulfilling the Jacobs school’s desire to reach new audiences.

“We’re always trying to get outside the cultural cave and try to allow people to have a more diverse listening experience than they usually do,” Richards said. “This is a great first opera, and it’s the basis for the musical, ‘Rent.’ And people may know it having come from ‘Rent.’”

For anyone new or curious to opera, Gray said this is a great opportunity to check it out.

“‘La Boheme’ is a very accessible opera, and this is an accessible location. So for people who want to try it for the first time, this is kind of ideal,” Gray said.

Although there may have been some concerns about the event, Richards said the unknown is exciting.

“We like the flying without a net feeling of it, too. We love the concept. We hope a lot of people will find this of interest,” he said.

“Who would have thought you could sit on the 10-yard line on a blanket and watch ‘La Boheme’ live from the Musical Arts Center,” Richards said.

If you go

WHAT: Opera in the End Zone presents “La Boheme”

WHEN: 8 p.m. Friday. The southeast gate opens at 7:30

WHERE: IU’s Memorial Stadium

MORE: The event and parking are free. Patrons may sit on the south end of the field or in the stands. Patrons are encouraged to bring a blanket or lawn chair, however, four-legged folding chairs will not be permitted. Lawn chairs with horizontal bars are allowed. No alcohol or glass is permitted. Food and drink are welcome as long as they are consumed in the stands or on the blankets instead of the turf.

 

© Herald Times 2014

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Indiana University Opera hopes to score in football stadium

opera stadiumBy Brian Wise of WQXR New York Public Radio Oct. 17, 2014

In the heart of basketball country, Indiana University’s football team has long elicited collective sighs and groans. The school generates the second-lowest football revenue in the Big Ten and historically has had trouble filling 52,000-seat Memorial Stadium. The team’s fall record is 3-3 – in advance of a daunting match-up Saturday against Michigan State.

All too aware of this, Indiana University’s Jacobs School of Music announced Friday that it will present a live simulcast of its production of Puccini’s La Boheme on the stadium’s Jumbotron. The simulcast, dubbed “Opera in the End Zone,” will take place on October 24. Tickets will be free. Opera fans can bring a blanket or lawn chair but alcohol is not permitted (sorry wine buffs).

Indiana’s screening follows similar opera events in ballparks (San Francisco Opera at AT&T Park) and football stadiums (the Dallas Opera at Cowboys Stadium) and comes at a time when opera companies are trying to reach wider audiences by going to unusual spaces. The Jacobs School of Music has been frequently ranked among the top college music schools in the U.S.

© WQXR.org

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