in house experience
The ultimate aim for my PhD project is to investigate the significance of the simulcasts for contemporary operatic experience and critically reflect on the wider cultural and aesthetic implications of the conception and delivery of the simulcasts, and with this in mind I decided that a research trip to the livestreaming of an opera was imperative for informing my work.
Over the last 3+ years I've conducted my research from a one-sided perspective, yes, I've experienced operas like 'The Importance of Being Earnest' (Gerald Barry) at the Gaiety and a dress rehearsal of 'Written on Skin' (George Benjamin) at the Royal Opera House and though just one of these productions would be live-streamed (broadcast to cinema audiences around the globe), I never, myself attended a production that was, at that moment in time (while I was 'in'-audience), being relayed to others across the globe. Although I theoretically understood the process - I needed to experience a production that was being streamed to mass audiences myself.
Back in October, I applied to the Society for Musicology in Ireland’s grant scheme to help fund a research trip to the Royal Opera House in Covent Garden to experience David Bösch’s new production of Il Trovatore (31st January 2017).
On the 31st of January the production was streamed to cinemas around the world and this time around I was on the other side of the looking glass.
My €57 ticket positioned me in the Amphitheater in row K and seat 69 (see below for the ROH seating plan) - in stark contrast to the usual €12 student or €24 adult rates and the usual comfortable cinema experience.
What surprised me most about the whole experience was the lack of 'eventness' - aside from the addition of cameras (which were working pretty inconspicuously throughout the production), there was no sense of anything out of the ordinary occurring. No figures were there to guide you through the production, no introductions to cast members were made and if you wanted any insight to the production or opera well then, you had to part with your cash for a programme. Although I knew this would be the case beforehand, I didn't exactly realise how underwhelming this experience would be - that I would craze the insight that the video would provide. When researching both sides of the debate (for and against 'liveness') we hear of the elusiveness or this 'Je ne sais quoi' that being in the same shared space with the performers gives; but this wasn't my experience - the music travelled well (just about reaching me in the back!) but immersiveness and intimacy that surround sound gives was missing. My eyes had to strain to identify who was on stage and even then I couldn't distinguish facial features or the facial expressions used by these well-seasoned and critically renowned performers.
Whilst researching my topic on opera and mediatization, I have always passionately taken the stance of pro-media - attending livestream versions of the opera. I imagined the buzz of being captured live - perhaps the opera goers would bring signs, chat about their camera positioning, however the reality of this trip exposed otherwise. There are no 'special conditions': no interviewers, no advice is given on how to behave and aside from the 4 cameras (visible to me from the rafters, that is!) all seems to be a 'normal' production. Perhaps this is the confirmation I was secretly hoping to get - a reinforcement of my beliefs that it is simply better value and 'meatier' (content wise) to attend livestreamed events.
The hub of activity can be found outside the theatre where the inconspicuous streaming station 'Links Broadcasting' was positioned. Even here all seemed calm and according to the staff I was able to speak with... all is quiet unless something goes wrong.
This experience has cemented my belief that the digital experience is just and valid to me and my position in a generation that grew surrounded by digital culture. Furthermore, I'm more interested than ever in the director and video director's: role, process and their with their engagement with the broadcasting providers (Links Broadcasting).
My take away? The prestige isn't worth it...
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| Royal Opera House Main Auditorium Seating Plan |
