Central City Opera reaches out for new audiences

A conversation with general director Pat Pearce

By Peter Alexander

Central City Opera Opening Night 2006- Page 2 of Book

Opening Night at Central City Opera. Featured in Central City Opera’s 75th anniversary book, “Theatre of Dreams, The Glorious Central City Opera- Celebrating 75 Years.”

Central City Opera opens its 2016 Summer Season tonight (July 9) with their 60th anniversary production of Douglas Moore’s Ballad of Baby Doe, which premiered at the Central City Opera House July 7, 1956. (A review will appear in Boulder Weekly July 14).

Other works on the summer season will be Puccini’s Tosca and two shorter works—The Impresario by Mozart and Later the Same Evening by John Musto—which will be performed both in Central City and on the road in Boulder and Colorado Springs, respectively. Those shorter works take the place in the company’s schedule of a third production in Central City, and they represent an effort to reach out and build new audiences for opera.

I recently had the opportunity to speak with Pelham (Pat) Pearce, general/artistic director of Central City Opera, about the motivations for taking those shorter works on the road, and on the condition of opera in American today. Here is part of that conversation, lightly edited for clarity:

Alexander: Over the past few seasons, you have been looking for the right menu for Central City Opera—is that fair to say?

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Pelham “Pat” Pearce

Pearce: I think so. These days, everybody is having to adjust and in many cases, shift and change for the environment we’re living in. But ultimately everything we’ve done over these past oh-so-many-years has been about finding and developing new audiences for this art form. That’s really what it’s been about.

Some of it involved taking a show that we were doing up here (in Central City) down to Denver. Other things involved us actually creating down in Denver in the music theater vein. And what we’ve done in the last year, and what we’re doing this is year, is taking one of our slots and devoting it to an effort to find and drive new audiences for this art form.

We’ve come up with a list of things that we felt were barriers for people, and we think we’re right about this. One of them is price, and opera tickets everywhere can run to be fairly expensive, mostly because it’s the most expensive art form in the world—and even with those expensive tickets that’s still only a small percentage of what it actually costs to do it. But for something that you either don’t know or don’t think you’re going to like in the first place, you’re hesitant to spend a lot of money to try something out. So price was a deal.

Length was a deal—perceptions about how long opera is, how long the sit is, so we created things that were around an hour in length.

The fact that it’s in a foreign language is another perception, and so we tried to basically focus on things that were written in English. This year we have one piece, the Mozart Impresario, that we will be doing in translation, from its original German to English.

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Historic Central City Opera House, interior

And the other thing is making people come to you. Doing opera in spaces that were created for doing that is the easiest way to do it. We have everything we need—dressing rooms, lighting, pit—all of those things we need to produce the art form. But we find that crossing that threshold is problematic for some people. So, we have said that we will do these pieces in non-traditional places, so that any pre-conception about what you have to be, who you have to be, what you have dress like—all of those things are shifted to the side and we’ll do these pieces in nontraditional places.

So those four things are sort of the drivers for us, in addressing how we take this third of our offerings in the summer and translate it into something we think will address all of those barriers. So this year that happens to be Mozart’s Impresario and John Musto’s Later the Same Evening. That was a long answer to your question, but I think that’s absolutely the correct answer in the end.

This fascinates me, because there are areas of opera that are thriving right now. For example, I’ve been to some very successful premieres in the past year: Manchurian Candidate by Kevin Puts at the Minnesota opera; Cold Mountain by Jennifer Higdon at Santa Fe; and The Shining by Paul Moravec, again at the Minnesota Opera. And we had Scarlet Letter by Lori Laitman at Opera Colorado this spring.

 People do seem to respond to new work, at least the first time. There’s always a cachet with a world premiere, especially these days. It becomes an event, a “thing” that everybody feels like they need to be there, which is great, especially for the original commissioner and presenter. The subsequent productions of it, in other places, (are another matter).

In the 1980s and ‘90s Opera America and the National Endowment for the Arts gave out money for people to commission new work. And what they found was that people were willing to commission new work, but the work was not really going anywhere because there weren’t subsequent productions. It didn’t have the opportunity to grow and to evolve, and for more people to see it. And so in the next couple of decades they gave money to encourage people to take the risk of that second production of the work.

In many cases these days, people have co-commissioned new works and they’ve set up, like they did with Moby Dick (by Jake Heggie), and like they did with Cold Mountain, multiple presenters. That cuts down on the risk and the cost of the original commission. As part of doing that, they have first dibs (on subsequent productions in other places). And so Cold Mountain went from Santa Fe last summer to Philadelphia over the course of this past season. The largest one in recent memory was Moby Dick, which started off in Dallas and it took it almost two and a half years to get through all of the co-commissioners.

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Dead Man Walking execution scene. Photo by Mark Kiryluk. Central City Opera, 2014.

Today, some pieces do go on to have real success around the country. Jake Heggie’s Dead Man Walking, which you produced in 2014, is a good example.

 Dead Man Walking is a really wonderful piece. It works, and nine times out of ten, new work is not going to work. I mean, that’s the reason most people don’t present new productions of works after the premiere—because having everything come together and have a piece actually work is hard, and it’s rare. Even back in the heyday of opera, there were lots of operas written, but the ones that we still see today are the ones that rose to the top.

There are many operas we’ve never heard of, for good reason.

 There are a lot of different ways to develop a new audience. And in addition to people that are commissioning these new works, in big houses, and doing them in their home theaters, there are also a plethora of new, very small opera companies that are popping up in larger cities, usually, that do work in non-traditional places—in warehouses, that sort of thing. Nobody gets paid much and they don’t charge much for the tickets, but people show up to see it. And so far they’ve managed to do it.

So everybody’s trying a lot of different things, and we’re all trying to learn as quickly as we can, from other people’s risk-taking, about what seems to work, and we try to adapt our offerings to that. Or at least a portion of our offering, so that at the same time we’re producing standard repertoire and interesting repertoire for our current audiences, we’re also working to develop new audiences. We set out a goal last year of having at least 50% of the people that bought tickets to the shows be new audience. We actually did 55%, so we did really well with that last year.

My concern was that our current audiences would want to see everything that we were doing, and would fill up all of the seats—which is a wonderful thing, but ultimately wasn’t the reason specifically we were doing it. Which is why we’ve taken at least a few of these performances off the hill, away from here. Last year we went up to Ft. Collins and down to Colorado Springs. This year, we’re going to go down to Colorado Springs and to Denver with Later the Same Evening, and to Boulder with two performances of The Impresario. So we’re taking it off the hill on purpose, and that’s often where we get the new audience.

# # # # #

Central City Opera
2016 Summer Season

CCOperaLogoPreferredThe Ballad of Baby Doe by Douglas Moore
2:30 p.m. July 13, 15, 17, 19, 21, 23, 27, 31; Aug. 2, 4
8 p.m. July 9, 29; Aug. 2, 6
Central City Opera House

Tosca by Giacomo Puccini
2:30 p.m. July 20, 24, 26, 30; August 3, 5, 7
8 p.m. July 16, 22
Central City Opera House

The Impresario by W.A. Mozart
12 noon July 27 and Aug. 3, William’s Stables Theater, Central City (sold out)
6 and 8 p.m. Thursday, July 28, Nomad Playhouse, 1410 Quince Ave., Boulder

Later the Same Evening by John Musto
7 p.m. Thursday, July 28, Pikes Peak Center Studio Bee, 190 S. Cascade Ave., Colorado Springs
8 p.m. Saturday, July 30, Denver Art Museum, Denver
7 p.m. Friday, Aug. 5, Gilman Studio, Lanny and Sharon Martin Foundry Rehearsal Center, Eureka St., Central City

Tickets

Edited 7/10/16 to correct typos

 

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‘The most profound music for orchestra’ rounds out Brahms mini-fest at CMF

Wrapping up two nights of full, burnished orchestral sounds at Chautauqua

By Peter Alexander

Johannes_Brahms_portraitFour symphonies in two days is a lot of Brahms, but Jean-Marie Zeitouni and the Colorado Music Festival Orchestra pulled it off to the full satisfaction of their audience. Last night’s (July 8) nearly-full house for the second of two concerts stood and cheered and whistled and—was that a horse whinny I heard behind me?

It’s safe to say the audience showed its robust approval.

The second program was shared by the Third Symphony in F major and the 4th Symphony in E minor—two works that, Zeitouni said, “speak to someplace where mortals are not even invited.” Happily, he did invite his mortal audience into the elevated—if not quite otherworldly—performance.

The orchestra filled the Chautauqua Auditorium with the rich tones and well balanced chords of the brass section from the very first notes of the Third Symphony. Their bright, burnished sounds characterized both evenings’ performances, and they particularly suited this work.

The first movement, with its complex textures and overlapping lines, is particularly challenging for conductors and players alike. To their credit, the CMF orchestra played with great transparency, making every inner line in the woodwinds, every passing theme audible.

The shifting chords at the recapitulation—a particular hazard of the movement—were all carefully balanced and matched. In many ways, the performance of this movement was exemplary: Zeitouni and the Festival Orchestra at their very best.

Both the second and third movements gave the players a chance to revel in a relaxed fullness of sound. These movements are perhaps too much the same, but both were played with great delicacy of phrasing and beauty of sound. The Horn solo in the third was especially memorable.

The many thematic fragments of the finale were successfully pulled together and wrapped in a full and cushioning orchestral fabric. Zeitouni’s characteristic transparency of texture made it all work. Once again, the horn playing was beautiful, if slightly overbalancing the rest of the orchestra. The end subsided, as it is written, into a vanishing whisper that became another of the challenges of this symphony successfully overcome.

Jean-Marie-Casual

Jean-Marie Zeitouni

The Fourth Symphony is one of my favorite pieces, even if I don’t quite share Zeitouni’s belief that it is “the most beautiful and profound music ever written for orchestra.” Nonetheless, it is unmistakably beautiful and profound and always welcome on an orchestral program.

The first movement provides a great example of tradeoffs in interpretive decisions. Zeitouni sought out different sound qualities in the different layers of the orchestral texture, with the strings ranging from brilliant to a warm, sustained and singing sound, punctuated by raspy, pecking chords from the woodwinds, and the brass always chorale-like in their warmth and resonance. This brings out the separate lines and ideas, but the tradeoff is a loss of unity and blend.

This was a soaring, lyrical reading of the first movement, not tortured or dramatized as it is sometimes heard. All the layers and sections came together for a surging climax that could have—but didn’t quite—upstage the final close of the symphony.

Sometimes you have to just sit back and enjoy the sound of an orchestra. That was largely the case in the second movement, even when the horns seemed again just more than was needed in contrast to the hushed pianissimos.

The third movement was played in a very direct and straightforward style. Sometimes played with a halting quality, as if there were a gravitational pull holding back the momentum, here it was brisk and bracing, an approach that is in alignment with the rest of Zeitouni’s interpretation.

A set of variations on a simple chord progression, the finale is a throwback to the German Baroque music that Brahms studied and loved. It is certainly one of the great orchestral movements, with the Baroque and Classical and Romantic techniques all coming together in a kind of ideal synthesis that seems to transcend time and styles. This movement does occupy another plane.

The trick is to recognize the joints between the many individual variations, but to get through them without a loss of tension and forward movement. The slower, softer middle variations seemed to relax a little too much, particularly as a beautiful brass chorale died into silence. But—another tradeoff?—the impact was stunning when the full wind section proclaimed the return of the original chords, allegro, forte, fortissimo, kicking the whole thing into an extra gear. You will not hear a more effective ending of Brahms’s Fourth.

Zeitouni has said this is the first of many single-composer mini-festivals to come at CMF. That is the kind of programming that raises the festival above the ordinary, providing both musical pleasure and illumination for Boulder’s audiences. I applaud Zeitouni and the CMF for this commitment and look forward to future installments.