The first day of the conference started off with a marvelous keynote speech by composer and stage director Daniel Catan, originally from Mexico but now a U.S. citizen and a resident of Los Angeles. He remarked how, in their time, operas premiered in quick succession in various opera houses within the same country, even within a short distance of one another, and he wondered at the reasons why, even with all the technological advances we have on our side during this day and age, this does not seem possible today. Tosca, he noted, had toured the world within a year... why then could premieres from here in the U.S. theoretically not do the same?
After the opening address I attended a speech by an investment strategist at Wells Fargo Bank, an excellent speaker who had the audience practically rolling in the aisles with his dead-pan humor about the current (and future) economic situation. It's all relevant, so very relevant to opera today, and he specifically spoke about the trends that the economic downturn has had on donors (mainly individual donors), and what the future of patronage might look like. Not so great, to be honest. This was followed by the obligatory schmooze session over coffee, where I had the chance to peruse the various companies and organizations that had tables set out in the exhibit hall. Several publishers, lots of opera companies from around the world... very interesting.
A discussion with Achim Freyer, the controversial stage director (and co-lighting designer, interestingly enough) of the LA Opera Ring Cycle, followed. I wish I had been able to understand more of the discussion but between his broken English and his naturally quiet speaking voice, a lot was lost on me. Add to that the fact that I was sitting behind a very tall woman and therefore unable to read his lips, and I really didn't get much out of it sadly.
I had lunch with three very interesting people: the two ladies who run Opera on Tap (www.operaontap.org), a fantastic organization that now has chapters across the country and seeks to widen opera audiences by bringing the art form to them in unusual places. They are doing very well, indeed. Also present was Tim Ribchester, a musicologist, coach, conductor, and pianist from Philly (via Denver, Edinburgh, and London).
The evening finished with an absolutely unforgettable production of Wagner's Die Walkure at LA Opera. The singing was superb, probably some of the best I have ever heard, and you would not in a million years have guessed that the lead was being sung by someone almost 70 years of age. Domingo certainly does have longevity!!
I would write more about it if I could but I think that it will take me a few days to process. I'm on the "I love it" side of things. "You'll either love it, or you'll hate it," Marc Stern had said the night before, and it is absolutely obvious to me why he made this kind of statement. I was blown away though.
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