Dear Directors of Contemporary Opera who have never directed opera before,
I feel like there is an epidemic going on where opera companies are hiring non-opera directors for new works and ironically, this usually happens in a large media-blitzed fashion. So, if you are one of these directors, here is my advice (and who are we kidding- I know you aren't visiting this website but I have to get this out of my system!)
1. Go to an opera directed by someone who only directs opera. I think you will find some interesting things. Primarily, they let the singers sing because it's hard to do anything else but stand and sing. So, you need to fight the urge to have them do "something" for the sake of doing "something" while the music is already doing plenty. I understand that in straight theatre/film (i.e no music, not a play done by straight people ;), there is a tactic to have the actors do various chores, like folding laundry, while discuss whatever heart wrenching episode is playing out. But, in opera, usually the heart wrenching episode is really really difficult to sing.
2. Because this is an opera, the text is probably difficult to understand for the audience. Either, because it's in a foreign language, or- if it's contemporary- probably in poetic form and most definitely in a stream of consciousness style. So, when you add all this stuff it is super distracting to the audience because they don't know what to pay attention to (The music? The action? The singing? The words?) and completely unfair to the singer (what's more important? The music? The action? The singing? The words?).
3. The most important part IS the music- This is opera, folks; use it! I get that impresario's are trying to avoid the usual "opera is boring" by hiring directors who excel in pulling out drama from the text. But, the composers have given you a gift, dear director: music that describes the characters motivation.
4. Don't try to choreograph stuff going on behind a singer that is different tempi from the music to be interesting like a modern ballet. This isn't modern ballet (and if it is, then have the singer stand in a corner and just sing). And, don't add movement to a singer that makes no sense to the text.
5. Audiences are smart. I am all for changing it up- but we are smart. So, have it make sense, please. Otherwise, you are going to alienate the audience you have worked so hard to build.
In short, do what is on the page and work with your artists to ensure they find the drama within the music and not waste your time on all this other crap! I know - easier said then done- so, again, revisit step 1. There are many brilliant opera directors out there who know what they are doing.
