Eastman Opera Theatre Presents “The Marriage of Figaro”: A Look Behind the Scenes


[Singing in Italian] We take places. [Steven Daigle] Le Nozze di Figaro has been produced multiple times, I think close to ten over the existence of the
school. It’s one of the greatest operas that’s
ever been written and I, I think what’s important is to uphold that tradition
somehow in the production. For us the important part is to take that piece and
give it life in a way that it will allow to be accessible to a modern audience. [singing in Italian] [Isaac Assor] There’s a famous saying that your own time is when you learn your part and then rehearsal is when you learn everybody else’s part. You know that there is such a history surrounding what
you’re doing. You don’t want to come up short. At the
end of the day nobody really cares about that when they’re watching. They want you to tell the story. [Steven Daigle] As in performance art, opera is one of the most complex live
performance experiences. Eastman Opera Theater has a
production team that designs all the shows. [Mary Griswold] It goes the other way that it goes out first and then in. Right. [Steven Daigle] One thing that Eastman gives is the chance to have that full collaboration, that communion from the very beginning. [Mary Griswold] As set designer my first job is figure out the plan usually where various elements are going to be placed within a scene. You’re creating your, this own special
world for this particular play or show. I’m just trying to make it look not so brand new but we still wanted to be pretty because
the music is so pretty.[singing in Italian] [Isaac Assor] The most important part of learning a role, I think, is, is the text and it can be very tempting when you jump into
a lengthy roll, you say all I don’t a lot of time to do
this, I really have to just do words and music together and it gets you into a lot of trouble if you do it that way. Every undergraduate student at Eastman
takes a full year of Italian, French and German. The missing pieces, a lot of
that comes through, through coaching, through getting to work with the Maestro and you have to then make the words feel as if they’re your own. [singing in Italian] [Mark Houser] We started loading at nine.We got all the electrics in and the carpenter pieces that we did have on our truck and we pretty much hope to be done around two or three this afternoon and start up again tomorrow. On the deck the
fourth electric is coming in. Right now we’re hanging the seventh and fifth electrics. We’re also laying the floor for the production. Hopefully this afternoon will be putting
up the proscenium in the title screen also. There’s a lot of lights in the show. These strip lights old light down onto a backdrop that will be up stage here and
they’ll be another set on the floor right in front of them creating the look of the opera. [Kelly Futterer] I got into music theatre when I was like five years old my parents are both musicians, there instrumental professors
so music has been ingrained entirely and I
grew up watching operas. [singing in Italian] To be in this show is kind of terrifying. You worry that you’re somehow not going to do it justice but it’s really exciting to
actually get to be a part of the story and to perform these works that everyone
knows. [Bekah Carey] We are on stage with the costumes and they have tried them on. We fit them. Sometimes we tweak different things. You’re just a little tight all together. Okay [singing in Italian] How’s that feel? It’s good. Good. You can breathe? People have multiple looks and they have quick changes so it gets a little crazy especially because their
period costumes so they need help putting them on. So it gets a little bit
crazy when we have a limited time and only a few hands to go around. It’s a lot of fun. We really feel the moment
especially once you add the sets and the orchestra. I guess talks of like a, a
crazy Beethoven wig, because I’m more of a goofy character. Let’s see what we have here. I think we found a winner. Absolutely. [singing in Italian] [Steve Daigle] It’s a magical moment when you see everything that we’ve been working on for a period of time eventually take the stage in
front of a live audience. [singing in Italian] [Kelly Futterer] I think that’s one of the most important factors of operas that it takes that connection of story and human emotion
and puts it such a high level because then you also put this undercurrent of
music which is always proclaimed as a universal language because it is. [Italian singing] [Steven Diagle] Mozart was the equivalent of a rockstar back during his day and if you enjoy good music then you will venture out and understand
how may be a different style is somehow related to a style that you might be
familiar with. [singing in Italian] [Isaac Assor] You’re really out there alone. You’re trying to give energy to people so they can, they can bring out the best in
themselves. They’re going to be doing the same thing for you and the combination
of everybody trying to up everyone’s game is going to ultimately make the
production better. [singing in Italian] [Kelly Futterer] There’s really no way i can describe how it feels when you’re on stage. It’s like this weird mixture of reality
which you know this is a show and then this fantasy world that you have to live
in order to tell a true story and still make the audience feel connected
to you. [singing in Italian] [Steven Daigle]What I thinks the universal element is the kind of care of the human condition that someone in the audience discovers
within the peace. [singing in Italian] That’s why shows like The Marriage of
Figaro survive the two hundred and thirty years. [clapping]

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