Opera: fresh, new and served up in an hour

I am in the midst of performances of an updated 1-hour version of La Bohème in English. The purpose of these performances is two-fold: 1) Opera Columbus is looking to reinvent itself and 2) Opera Columbus is looking to find a way to introduce people to opera in a streamlined, digestible and modern way.

This idea of taking a traditional opera and bringing it into an intimate setting is catching fire all over the country and many opera companies are redoing the classics stripping away the distance and bringing the opera closer to its (hopefully new) audience. I have always believed that for opera to survive it had to go two ways, more grandeur so as to compete with the likes of movies and music and also more intimate to make the entire experience less intimidating. The Met and other large companies have the resources to take care of the granduer, but smaller companies have had to find ways to bring operatic experiences to audiences on a smaller (and cheaper) scale. And like introducing someone to any new art form, education has to be the FIRST step. (Gets off of soapbox.)

In truth, there are people who might see an opera, but the perception of opera is skewed with visions of ladies in horns and large men with handkerchiefs (still.) On the flip side, people see Katherine Jenkins, Josh Groban and Andrea Boccelli and assume that they are top-tier opera singers and if they’ve attended one of their concerts then they feel as though they have experienced “opera.” This, of course, can make it tough to enlighten people about the reality of opera. But I see opera companies (new and old) becoming incredibly aggressive about connecting to audiences by offering something new and fresh alongside the traditional. It is breathing new life into the artform. Bringing people to the theater whether to see an hour-long intimate production in English or that same opera in its original grandeur, one must make it relatable.

There are purists who wish that people would just love opera as it is, but I had a revelation about why opera is a challenge for modern society: we live in a world where we can access information (and answers) at the drop of a hat. We are also living in a highly digital age. Opera demands that we listen and concentrate for an extended period of time. It also requires a certain level of critical thinking regarding what to listen for, how to process the story line and give one’s self over to the conventions of opera.

So, I am excited about this hour-long production meant to entice people to "try” opera. It allows people to experience the beauty of the operatic voice in a production that surrounds and envelops. It also has an immediacy that removes the language and distance barriers. Should every company do every opera this way? No. But should companies looking to draw people to an artform that spans hundreds of years find additional and creative ways to introduce it so that people will be more likely to attend a full-scale production? Yes!

Peace,

Eric