Week Two: A Technical Insight

Even at this early stage several technical elements are already in use... Props for example are needed from day one, as it allows the singers to get used to things as they will be onstage during the performances, and Assistant Stage Manager Katie Jones is always on hand. I was surprised by just how many people are in the rehearsal room.

As we progress through the rehearsal process, more and more elements are added. This week the continuo was completed. Until this point in rehearsal the singers have been accompanied by James Southall on the piano. It’ll be interesting to see how the music moves a step closer to the final thing when the orchestra and singers come together onstage.

The magic world created onstage is largely down to the vision of the set and lighting designers. As this opera is the result of a co-production with Gran Teatre del Liceu in Barcelona, the vast set has been sent over from there, where it was staged just before Christmas. Each act has an altered set with variations of mirrored and wooden walls.

This week members of the crew joined the rehearsals, in order to move the set. Mirrors play an important part of the production, and Act IV requires the mirrors to be moved to several positions, often at the same time that a scene is playing out onstage. This timing of these moves is down to the members of the crew themselves with Julian Johnson the Stage Manager giving them their instructions and cues. The movements needs to be precise and so require some rehearsal time. After a few mechanical problems were sorted out, the movements worked well and it was exciting to see another element adding to the spectacle.