Opera requires an intensive “tech” period, part of which is devoted to hanging, focusing and cueing the lighting that serves functional and expressive purposes. And, in the case of our Boheme, this same period encompasses everything that’s required to get projected images and video onto a hanging screen. Under “normal” circumstances, hard-working, pale-faced designers, running crew, and stage managers sit in a dark theatre all day doing this detailed work before the cast shows up at night. But in an outdoor theatre? Well, daylight isn’t so easily avoidable.

The view from upstage right

That’s why tech started this afternoon, kicked into high lighting/video gear at sunset, and will continue until sunrise. The theatre belongs to about 15 of us, and the overnight hours are spent in quiet productivity, to the gentle voice of the lighting designer on the intercom. The stage managers “walk lights,” standing and sitting in various locations on the stage while the designer and crew write cues. It requires stamina, patience, and a good book.

Singers were at the Kennedy Center tonight with the National Symphony Orchestra, and from all reports, there was some serious music-making. Everyone ends up here tomorrow night, and we really see what we’ve got!

As of this morning, we were sold out in front and rear orchestra, but some held seats were released this afternoon. You should be able to find good seats on the orchestra level, at least for the first part of Thursday.

But once a piece is up and running and my contribution is reduced to that of taking the blame or credit for what other folks lay at my feet, I can be selfish. In this case, that means taking in every moment – elegant, gutsy, wrenching, and bawdy. Because Monteverdi is in my top ten. Hell, top five. I’d give up a lot just to be able to hear this stuff the rest of my life. Gary Wedow has worked miracles, concocting an approach that honors both the letter and the spirit of the law and the music.

And, we’ve waded into doing scenic design with projections. A scary thing in a small venue with a smaller budget. But the design team (Eric Allgeier, S. Katy Tucker, Andrea Huelse & Bob Grimes) and director James Marvel have created a visually arresting and wonderfully integrated environment for this story.

Three more times in the next 5 days. It doesn’t get any better than this

The Vocal Colors mini-recital charmed the socks off a capacity audience of Wolf Trap Foundation staff, WTOC members, donors, housing hosts, and representatives from our partner The Phillips Collection. (Above, Jamie Barton and Jeremy Frank introduce Daumier’s The Strong Man to Big Sister Says (“Beauty Hurts!”) by Libby Larsen and Kathryn Daniels.)

A glimpse into the rehearsal hall shows that we are well into the “garden” scene of Così.

And… our 2009 newsletter is now available for viewing and download! Go here.

That’s it for now. Scene shop is already counting down the days!