Concert Workshop Production: March 2004
The March 19-20 concert performance of The Libation Bearers will be the first public presentation of this opera, the second in The Oresteia Project’s trilogy of one-act operas. It is being presented in concert format (i.e., non-staged), so principal singers and chorus will perform with music, as in an oratorio.
This concert performance facilitates the production and simplifies the rehearsal process; because staging rehearsals are not required, the amount of rehearsal time is greatly reduced. Given the nature of the workshop production as a means to evaluate and test a new theatrical work, this concert performance allows the opera to be judged by its most important attributes: its musical coherence and its dramatic effectiveness.
Workshop performances are a time-honored method of refining new theatrical works, whether opera, musical theatre, or drama, and are still the best way to prepare a work for an eventual World Premiere. Presenting a prepared performance in a workshop staging (or concert workshop performance) places the new work in an actual theatrical context, and allows the creative team to observe the piece in performance. Such issues as length, proportions, emotional flow, and the overall rhythm of the work can best be evaluated in a performance situation. The workshop is thus a very valuable aspect of presenting a new work, and allows the composer and librettist to make any necessary modifications, alterations, cuts, or adjustments in light of the experience.
The workshop process worked extremely well for Agamemnon, the first opera in The Oresteia Project trilogy. An April 2001 workshop staging of the opera’s chamber version resulted in numerous small modifications, and a substantial re-writing of Scene 6 (Kassandra’s scene). These enhancements were then included in Agamemnon’s full orchestral version, which was subsequently given its fully-staged University Premiere at
The Libation Bearers will undergo a similar process in March 2004. One element which will greatly enhance the audience’s experience is the use of computerized supertitles which will be projected above the Ward Recital Hall stage, where the performance will take place. These supertitles will allow the audience to follow the story of the opera (even though the work is sung in English, comprehension is always difficult in opera) and to be fully engaged in the action.
A second and very exciting element, appearing for the first time in the Oresteia operas, is the inclusion and projection of film sequences, shot by Nicholas Ferrario to accompany concert performances of The Libation Bearers. The film sequences, shot in black and white, do not occur continuously through the opera’s 60 minutes, but will be shown at important dramatic moments: choruses are particularly good moments for the addition of video elements. The film sequences employ and build upon imagery fundamental to Aeschylus’ tragic cycle - liquids such as water and blood, light and darkness - in creating an artistic and emotional counterpoint to the narrative unfolding in the score. Our interest in including film was two-fold: first, a desire to employ a visual element to increase audience engagement (this is a role fulfilled by dancers in staged performances of these operas); and secondly, to extend the emotional and expressive content of the opera through film. The concept for this initial workshop production is to employ film sparingly but effectively, to support the musical work but not to distract from it, and to have both genres contribute to the realization of this ancient Greek masterpiece.
A central object of The Oresteia Project is to create and present works which are as faithful to the ancient models as possible. We do not, however, intend to re-create imagined performances of ancient tragedy: the three operas of this trilogy are fully contemporary one-act operas, which respond to the theatrical values of the modern stage. Our position is that the theatrical values of ancient tragedy, as we understand them, are remarkably akin to those of modern opera; thus, The Oresteia Project operas are contemporary works infused with the spirit and form of ancient tragedy.
For this concert workshop production, the chamber version of The Libation Bearers will be presented (each of the three operas in this trilogy will have both a chamber and a full orchestral version). The instrumentation, for instrumental septet, is as follows: flute, oboe, violin, viola, cello, piano, and 1 percussion. The conductor will be Dr. Samuel Bill, a recent DMA graduate from CUA’s Instrumental Conducting program. The chorus for this opera is a women’s chorus, SSAA. Sibylla, one of
One hour before both the Friday, March 19 and Saturday, March 20 performances, the composer and librettist will give a pre-concert talk on The Libation Bearers, libretto and music, in the
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