Virtual trip to the opera

It is a slow burn: the marketing of opera in cinemas is in its infancy. The Met insists on cinemas committing to its entire season and can afford glossy trailers to whet the appetite, but in most cases it’s word of mouth supplemented by poster and email campaigns to local opera and music groups. The message is certainly spreading, and no doubt the recession will help; these screenings are seen as excellent value, and ‘not inferior, just different’ to the live performance. The investment for the opera houses is considerable, however, and becoming more so with new developments such as 3D, which demands twice the number of cameras, and may indeed prove one step too far.

Back to La bohème and Robin Lough, who filmed the performance for broadcast on the night, as he has filmed many operas before. His copy of the score is annotated almost bar by bar with different camera angles, and we talked of the pressures of working live, in real time, as opposed to the luxury of filming for DVD over several performances, with the editing suite on tap. But while few who could afford it would willingly forego the crackling excitement of being there on the night, it is in the detail that the filmed version excels — that glancing close-up of Rodolfo taking Mimi’s hand, for instance. ‘And the eyes,’ he says. ‘All that emotion — you can capture it in their eyes.’ Yes, you can’t see that from the dress circle, however much you’ve paid for the ticket.

ENO’s La bohème will be broadcast on Sky Arts 2 and HD on Easter Sunday at 2 p.m.

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Fr. Wm. H. Martin, OGS+

April 3rd, 2009 4:34pm Report this comment

We in El Paso, Texas, on the international border with Mexico, fill our cinema-opera house regularly, having driven many miles to do so, in order to experience opera as it is not seen in the opera house in NYC. And audiences are only getting larger. Same audience, or a new one? Does it matter? We are getting our opera which is not available to us in any other way. Bravo, Peter Gelb, we
are with you all the way!.

John G. Deacon (Philips Classics video, 1989-94)

April 4th, 2009 3:51pm Report this comment

One of the MET's cinema-relayed broadcasts (La Bohème with Gheorghiu & Vargas) has now appeared on DVD and, predictably, it is spoilt by the NY audience treating it as an audience participation show.

For example, after nearly 100 years, audiences (probably) throughout the world (but certainly including the ROH, La Scala, G'bourne and Madrid) have all learnt to allow the last 15 mins. of Act I to run through without the magic being spoilt by applause. This, I suggest, and especially in reference to the MET, not only spoils the moment (and most especially the intimacy which the camera brings) but totally ruins repeated viewing at home.

In my view it is intolerable, for home video, to have some moron shouting "Bravo" over the ending of 'Che gelida...' and for the home viewer to have to anticipate it every single time one watches the recording. It is not enough to sit with the a finger on the mute button.

I once asked Peter Gelb why, when filming was taking place, no request was made to the MET audience to contain their enthusiasism (and ignorance). The ROH used to make requests when cameras were present but Gelb replied that he simply wouldn't dare to intervene.

Such a shame. For a live broadcast one can accept reasonable applause but not for home video.

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