Opera – A Posh Alternative to Musicals

It was in late spring (2018) when I was approached about participating in an upcoming opera premier in neighboring Weimar. It was to be an exciting opportunity as the show was newly written and each would be originating the role. I was thrilled to be asked and readily agreed, but needed to work it around my internships.

The composer was grateful, but oddly explained that I was just to be a last resort; there was another he wanted, but was not successful in communicating with him (as in constant phone tag). Okay, I thought; this is weird, but I can surely help out if there is a need.

This would be a short entry if the other guy accepted, so we can jump further in the story to where rehearsals begin. I had previously explained the importance of laying out expectations; one can read that here. Suffice to say, I was a little in over my head during the first week of rehearsal.

I had only two days to review the text – I had been demoted from singer to actor, so the rhythm and notes were no longer of interest. I walked into the initial rehearsal and got to know the opera singers. They were all current or former students of the school and all had performed with each other before. I was the oldest, by far, and appeared to be the odd man out. Know that no one cared; these are theatre people, extremely accepting and only in need of hugs.

We kicked off the rehearsals as one would expect. The directors would ask the actors to move or interact with others in ridiculous ways; I never really figured out the point of funny walks or copy-cat exercises. Oddly, the music director expected everyone to be fully warm before arriving. I definitely lucked out on my demotion.

We rehearsed from the end of July and into August. The heat in the rehearsal rooms was unbearable. And since I had the least amount of conflicts, I seemed to be always on the call sheet; I really do not think my acting role required that much attention.

It is important to note that the director learned that I am a tap dancer and, like all directors, decided that this would be a good addition to my character (Udo). So, yes, I was asked to tap dance in the opera; and, yes, I did tap dance in scandals (see image below).

In mid-August, Erfurt hosted an opera to be performed on the cathedral steps. I had also attended last year; in 2018, Carmen was performed. It was not terribly good, but there are quite a few recognizable songs.

Near the end of August, the opera concluded its rehearsals, but our performances were not until the middle of October. So, we were given a month’s break and the expectation that we will internalize the blocking until we all regroup with the pit for our dress rehearsals.

We joined up with the pit, which was a grouping of fairly young (and talented) musicians. Oddly enough, the drummer/percussionist was the same young man I had tapped with in the failed tap group. Small world!

We were given final props and costumes. During the final dress, they gave me a microphone since I was an “actor”. I had no chance to get used to the thing or find a good place to store it in my costume; I just ran with it. No one else had a microphone as they were all trained opera singers. However, the audience members I had talked with after the three showings suggested that many others would have benefited from a mic.

I cannot say that I tried terribly hard to get to know the other players in the show, nor did I form a relationship with the director or other staff. The whole initial confrontation with the music director soured the entire experience and I was looking to making my escape. I did not even attend the final wrap party as I had to work after our final performance. (I did help strike, though.)

Weimar is known for its opera scene and I am proud that I found my way on the stage. However, I am not an opera guy and probably should avoid participating in the future. I am going to chalk this up as a learning experience.