HD - Friend or Foe to Opera?

It was only late summer ennui combined with a great hunger for my favorite art form and the opportunity to sit outdoors in the Lincoln Center Plaza FOR FREE (thanks to The Neubauer Family Foundation, Macy’s and Bloomingdale’s) that overcame a former near-insurmountable reluctance to see opera productions on video. Neither Hi-Def nor Lo-Def tempted me.

After several evenings spent at the Met’s Summer HD Festival I am ready to admit to a great deal of worth in what amounts to a new art form. Is it “as good” as live opera? That is not really the issue. One doesn’t need to compare artichokes with sunchokes. So let’s take a look at some of the differences.

It seems to me as if the major difference is the role of the HD Director. This individual seems to determine the visual focus for the viewer, deciding what part of the stage or which singer deserves our attention at any given moment. The viewer loses the right to decide where to focus. A good director has great instincts for when to focus on the singer, when to focus on the tableau on the stage as a whole, when to highlight an important set element, which singer in a duet to put in the camera spotlight, or what degree of close-up to offer.

I was most impressed by Barbara Willis Sweete for her direction of Strauss’s Der Rosenkavalier. Of course, she had a most excellent production to “film.” Not only was the opera sung as close to perfection as possible but it was cast with an eye to visuals--meaning that the singers all looked just right for the part. Close-ups were consequently most welcome and seeing the facial expressions added a new dimension to the experience, one not available at the Met even with opera glasses. The poignancy of the drama was thereby enhanced.

On the other hand, Gary Halvorson had much less to work with in Puccini’s Turandot. The Zeffirelli production shines on stage with its lavish grandeur but on the HD version it appeared dark. The intimate scenes did not work nearly as well on the big screen and Maria Guleghina in the lead role was not visually appealing in extreme close-up. Halvorson did better with Carmen but then again, Alagna and Garanca are simply more convincing in close-up as Don José and Carmen.

And so, it would appear that HD is a hybrid form (or even a completely new form perhaps?) comprising not just orchestra, singing, and stagecraft but also cinematic and video values which can add or detract. BUT to the central question: is it good or bad for opera? I vote for good. There are folks all over the country without access to live opera who deserve to experience opera in some form or other; and there are people who have never been to a live opera who are being introduced to it in HD form and who will become fans of opera because of it.

--Meche Kroop for The Opera Insider