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Blog entries tagged with cathedral

Noah's Flood: Our Opera Expedition Has Begun!

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels.

First days of anything always get me a little paranoid. Did I pack an extra pencil? Is my score with me? And for that matter, where on earth did my singing voice go?  This was me right before the first ensemble rehearsal of Benjamin Britten's Noah's Fludde (Noye's Fludde), this year's Community Opera. Heightening my nervousness, this was also the first time I had ever done this program. I knew a bit about it, though: it is a huge annual opera performed by adults, kids, teens and non-singers like me, as well as music professionals from the community.

Hopping from the car, I walked into our rehearsal venue, the spacious auditorium of East LA Performing Arts Academy. Immediately, all my apprehension went away. I started seeing people I knew from last summer’s Opera Camp, both staff and campers. How I have missed hearing director Eli Villanueva’s continued attempt to make the word “groovy” cool again!

Muse Lee in Opera Camp

 

 

 

 

 

 

 

 

 

Muse Lee in LA Opera's 2012 Opera Camp. Photo by Taso Papadakis.


At the beginning, we were given an overview of the program. On April 19 and 20, we will be performing at the Cathedral of Our Lady of the Angels with choruses from all over LA, numbering around 200 people altogether. A community orchestra of 100 members, along with LA Opera Orchestra members, will accompany us, all under the baton of a certain Maestro named James Conlon.  If that's not the pinnacle of epic, I don't know what it is — especially since 2013 marks Britten's hundredth birthday!

flood animals


We plunged right into rehearsal. The younger kids, the animals in the ark, went to a separate room to rehearse. As for the teens and adults, we stayed with assistant director Heather Lipson Bell. Bit by bit, we learned our motions in the opening scene; we pieced together our entrance, exit and the choreography in between. In this scene, we are congregation members searching for the Lord’s guidance. Eli encouraged us to go beyond this simplified sketch and develop individual identities. He asked us to think about who we are, why we're having this crisis of faith, and how this dictates even our subtlest movement choices. Each action we perform can be interpreted in many different ways, and the actions we settle on depend on our own character. I can't wait to get to know mine better!

flood adults

After a short break, we began singing the lonely, searching melody of “Lord Jesus, think on me,” our voices floating through the space, the amateur voices supported and buoyed up by the resonant, trained voices. Noye's Fludde is based on the medieval Chester Miracle Plays, meant to be performed by townspeople and local choristers. Britten intended his opera version to be the same way: a community production with singers and non-singers, adults, children and everyone in between. The resulting sound is something so exquisitely pure and organic that I almost forgot I was actually singing. It just felt completely natural. I can only imagine how gorgeous it will be with 200 other singers and orchestra.

Our next task was to put the action together with the singing. This was easier said than done. Whenever I focused on the singing, I forgot my blocking, and whenever I switched my attention to the action, the words and music escaped me. I never realized how difficult onstage coordination can be—it really makes me appreciate performances more! Though it's challenging for some of us, the opening scene is already starting to solidify.

I left rehearsal brimming with happiness and anticipation. Everything around me looked infinitely more awesome. Now, the flood waters have come in and our ship is off and away. Our Community Opera expedition has begun!


Noah's Flood Rehearsal: "I Need a Stunt Double"

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels.

Last week Friday, a miracle of biblical proportions took place: school finally ended. A long, glorious spring break stretched before me like the rainbow after the flood. The perfect way to celebrate its arrival was going to Noah’s Flood rehearsal stress-free.

And what a celebration it was. This was the most rewarding rehearsal yet: on Sunday, everything began to come together. For the first time, the ark was brought in. With it there, we went over our wave movements, and we confirmed our various cues. As we did, the “doomed” practiced getting engulfed. I said before that their drowning looked like a horror film scene, but during this rehearsal, director Eli changed it a bit. It just got a whole lot scarier. Now, it involves the drowned rolling around on the ground. I think the situation was summed up best by one of the victims: “I need a stunt double.”

Muse

While we worked the waves, the four guardian angels practiced maneuvering the ark for the first time. I almost lost focus on my movements because I couldn’t take my eyes off the ship. With our blue strips billowing around it, it sailed and rocked and veered. Later, I went up close to the ark, and I realized that it was only a frame with fabric. Though one of my fellow waves joked that we needed CGI, I heard one lady marveling at how incredibly well it worked. She was saying that this really shows the beauty of theater: the audience is not only given a story, but is also invited to fill in the gaps and complete it. It’s kind of like how when a tree falls in a forest, it technically only makes a sound if people are there to hear it. Or maybe it’s more like a coloring book. We provide the outline, and each audience member can fill the blank spaces with his or her own colors.

Ark far

After a short break, Eli got us back on our feet. It was now time to start working on the final scene. We figured out our entrances and exits and got a rough idea of the music. As we practiced, the people manipulating the rainbow sent it streaking back and forth over our heads. It was absolutely gorgeous, but as a wave, I could only imagine their pain once we hit the forty-minute mark.

Doomed

As usual, the three hours of rehearsal went by quickly, and before we knew it, it was time to go home. With rehearsal over, spring break officially began. I can’t ask for a more wonderful start!


Noah’s Flood Rehearsal – Going Overboard

Muse Lee, our favorite high school blogger, has returned for a series on her participation in the Community Opera production of Benjamin Britten's Noah's Flood.  Performances are April 19 and 20 at the Cathedral of Our Lady of the Angels.

Early on in Sunday’s Noah’s Flood rehearsal, director Eli pronounced, “We really have to go overboard.”  Whether or not the pun was intended, I’d say that was the theme of the day: testing our limits. The thing is, we had everything in place, and our new job was to turn it up several notches and amplify it—even if that meant completely overdoing it and feeling so embarrassed that we’d never want to face Eli again.

Muse

With this objective in mind, we plunged right into rehearsal, running through the opening scene several times. After carefully observing us, Eli pointed to the open door, through which we could see a distant fence at the edge of the campus. He told us to keep in mind that there would be audience members that far away, and that we had to effectively convey the story to them. Therefore, it had to be bigger, louder, and way past the boundary of ridiculous. We had to shed the “armor of appropriateness” and “really explore what embarrasses you.” We took his words to heart and started translating them into action, elongating our bodies and stretching our arms as much as possible. We had extra motivation since he announced that the first person who touched the ceiling would get a thousand dollars.

Next, as the kids rehearsed their ark entrance, assistant director Heather took the “waves” and “doomed” outside to practice.  Since it was so windy, our fabric strips wouldn’t listen to us, instead flapping every which way and talking back. It was exhausting, but it actually added a splash of realism. Now, during the storm scene, I can truly imagine the wind whipping my wave and my clothes and my hair. And plus, my wavemate and I had fun pretending that our wave was a parachute and that we were going to fly away.

Lions

As we went back inside, my wavemate and I nearly got trampled by the animals, but we narrowly avoided this fate and got to watch the rest of their ark entrance scene. When working with the kids, Eli told them something similar to what he told us: he said that the scene felt a little tentative and that it needed to be bolder. He said to them, “I’m giving you permission to make mistakes.”

Once they had worked on the scene a little more, we waves stepped in and the storm began. With Eli’s words in mind, I threw myself so fully into the motions and the music that I don’t quite remember what happened. All I know is that my limbs are really sore and that, according to my wavemate’s mom, I had quite a lethal facial expression.

Birdy

Together with the animals, we sang our parts, and then slowly exited the stage. However, assistant conductor Paul, who was accompanying us on the piano, didn’t stop playing. For the first time, he kept on going, right to the very last note. There were several moments of silence. Then, we burst into applause.

And that’s how our very last ensemble rehearsal ended. Next week, the principals and the community orchestra will join us, and then we’ll be moving to our actual performance venue, the Cathedral of Our Lady of the Angels. Each rehearsal is more exciting than the last—who knew that embarrassing yourself can be this fun?


Welcome to Jonah and the Whale

Our favorite high school blogger, Muse Lee, returns to LA Opera's blog to talk about her experience with our Community Opera Program.  This year we are presenting the world premiere production of Jonah and the Whale by Jack Perla and Velina Hasu Houston.

To me, LA Opera’s Community Opera program means many things. However, now that I’m returning to participate a second time, one memory stands out: the moment that we finally rehearsed in the Cathedral of Our Lady of the Angels. Just standing in the Cathedral filled us with a sense of mystery, urgency, and wonder. The singing transformed from practiced mantras to spontaneous outbursts, and the movements sprang not from conscious decision, but from an inner compulsion.

Cathedral Opera

At the time, I didn’t quite realize the beauty of creating art in a holy place. However, entering my second year in the program, I’m starting to realize the true significance of the Community Opera program.

Community Opera is LA Opera’s annual project open to the entire community: children and adults, amateurs and professionals. After two months of rehearsal, participants join more than four hundred chorus and orchestra members at the Cathedral to perform an opera.

Orientation for Community Opera 2014 took place last Sunday. As I arrived in the room, I saw familiar faces everywhere. All my friends from last year’s program and Opera Camp were there, and they were just as excited as I was. We instantly began rehashing memories and belting out tunes from the operas we had done together. The moment our antics earned a fondly exasperated look from our director, Eli Villanueva, it was as if no time had passed at all.

Cathedral Opera

The Senior Director of Education and Community Engagement, Stacy Brightman, and our directors, Eli Villanueva and Leslie Stevens, gave us overviews of the program and led us through some of the choreography. We also learned about what we’d be performing: the world premiere of Jonah and the Whale. Jonah and the Whale is the story of a prophet fleeing from the Lord. As he escapes by sea, God sends a giant fish to swallow him. Inside the belly of the whale, Jonah learns the error of his ways and repents, placing all of his faith in God’s will. As the ensemble, we will play waves, sea creatures, sailors, and Ninevites in the story.

To sum up the program, Dr. Brightman stated, “Art belongs to everybody. Opera certainly belongs to everybody. And this opera house belongs to everybody.”

As we laughed, leapt, and danced for the next hour of orientation, I reflected back on my Cathedral experience and thought about Dr. Brightman’s words. I’m beginning to understand what she meant. Only now do I realize why in the Cathedral, everything fell so naturally into place. It’s because art itself is an act of faith. Art fills us and lifts us up. Art brings the community together, because though it may not have all the answers, it shows us that others have the same questions. And making artistic choices, devoting ourselves to art, and sharing it with the community are in themselves a leap of faith.


Coming Home to the Opera

Our favorite high school blogger, Muse Lee, returns to LA Opera's blog to talk about her experience with our Community Opera Program. This year we are presenting the world premiere production of Jonah and the Whale by Jack Perla and Velina Hasu Houston.

When you mention opera to your friends, chances are that they’ll picture gold-rimmed theater binoculars, fancy dresses, and singers trilling in foreign languages. Well, that is, unless they’ve participated in LA Opera’s Community Opera program.

3 Muskateers

Our First Rehearsal
This season's Community Opera kicked off on Sunday, January 26. People of all ages and ethnicities poured through the doors of East Los Angeles Performing Arts Academy (ELAPAA): amateurs and professionals, children and adults, opera veterans and curious newcomers, all coming together to put on the world premiere of Jonah and the Whale by Jack Perla and Velina Hasu Houston, to be performed in late March at the Cathedral of Our Lady of the Angels.

Stacy Brightman, LA Opera's Director of Education and Community Engagement, stepped up to deliver a welcome speech and to introduce the program to us. As she talked about how we’d be performing in the grand Cathedral, how we’d be joined by more than 400 chorus and orchestra members, and how we’d be led by Maestro James Conlon, I just sat there smiling uncontrollably. We’d be singing alongside our friends and alongside world-class musicians, and better yet, working with them to achieve the same goal: a spectacular work of art. Though it’s my second year participating, I still don’t think I’ve quite wrapped my head around it. I sure was glad to be back.

Laughing

We began the day with movement warm-up led by assistant directors Leslie Stevens and Heather Lipson-Bell. They led us through stretches and strengthening exercises to prepare us for the strenuous movement required for Jonah and the Whale. Even as my muscles were screaming, I couldn’t help but think about how much I had missed Heather’s enthusiasm and Leslie’s occasional slip into a Dracula voice.

Rehearsing Jonah

After the mini-workout, assistant conductor Paul Floyd and assistant director Nathan Rifenburg led us through some of our music. We sang through the hymn Faith Be Preserved. As I lifted my voice with everyone else’s and listened to the searching, resolute melody unfold, I made a note to myself to remember exactly how I was feeling: curious, stirred, moved. Since we’re performing the world premiere of this opera, when the audience hears this melody, this would be how they will feel, too. Everyone in the Cathedral will be hearing this music for the very first time, just as we are now.

The kids went with Nathan, and director Eli Villanueva ran a staging rehearsal with the rest of us. He emphasized the importance of moving as an ensemble, led not so much by the music but by the collective breath of the group. He guided us through several patterns of movement, or katas, which we would need to learn for Jonah and the Whale. Leslie joined him, and together, they led us through the katas with the corresponding music playing.

The Jonah Company

Our first Jonah and the Whale rehearsal ended with that. After a few closing announcements, we all headed home. Though we were a little exhausted, we all felt renewed and rejuvenated, and already in love with the opera.

A Visit from the Composer
Our next rehearsal took place on Super Bowl weekend, Saturday, February 1. Because of the big event, we had some traffic problems, but eventually, we were all gathered at ELAPAA. The day began with a big surprise. Dr. Brightman stepped up to give her opening announcements, and after she had welcomed us, she told us that we had an amazing opportunity that day. She explained, “When we’re doing La Bohème, we can’t say that Mr. Puccini is in the room.” However, we now got to say the equivalent, because Jonah and the Whale composer Jack Perla had come to visit.

Mr. Perla sat down to watch our rehearsal. Like last time, we began with movement warm-up, then transitioned into working on the hymn. We’re already making significant progress with the diction, the dynamics, and the intention behind the words. I hope Mr. Perla liked what he heard.

Jack Perla and Cast

Next, the kids went with Nathan for their rehearsal, and we went with Eli for ours. We reviewed our movements from last time, fine-tuned them, and practiced several times with the music. Then, Eli divided us into smaller groups: sailors, clouds, waves and parts of the whale. He worked with the whales and the waves to start choreographing the storm. With the whale and wave props there, I could already start to envision the whole show coming together.

At the end of the day, we received our Jonah and the Whale posters. I admit that I may have screamed a little when I spotted my Operalia favorites in the list of singers. Looking at the glossy poster and reading over the names of all the groups involved, it struck me again what a big deal this production will be. I felt more honored than ever to be a part of it.

Jonah Poster

With that, we broke for the day. After final announcements, they sent us on our way. As I lined up for sign-out and observed the diverse crowd around me, I tried to put a finger on it all. Indeed, opera really isn’t just about daggers and ball gowns and wine glasses. The Cathedral experience is impossible to describe, but this is how I’m feeling right now: more than anything, Community Opera is a lot like going home. 

Tickets are available beginning February 5 at 10am at www.laopera.org