One thing both he and Sforzini must do is understand, and think hard about, what the composer wanted. I try to balance it all out in terms of the musical requirements, but also the dramatic ones as well.” I’d like to think that I’m a very singer-friendly director, because I’m familiar with the challenges and the obstacles, and the requirements the singers face when they’re doing a full production. “I think I’m very mindful of what the singers themselves require. “So much that I do as a director is as a result of having been in the rehearsal room for as many years as I have, as a singer. He is also an opera singer (bass-baritone) who performs around the country.īeing a vocal artist himself, he says, is a big help. And you have to work alongside that.”Ĭioffari, who previously stage-directed SPO’s acclaimed productions of The Merry Widow and Cosi fan tutte, is the artistic administrator of Maryland Lyric Opera. The orchestra is constantly playing, and it weaves this tapestry that’s constantly going. “But the score itself, the orchestra, is another complete component. You have the job of the conductor, in a weird way, because you set the rhythm of the dialogue and the stage action, along with the cast of course. “The difference,” Cioffari explains, “is that as an opera director you’re working with a constant soundtrack. It’s not exactly the same as herding cats – these are professional performers – but it takes specific visual and organizational skills.
Adam Cioffari is the opera’s director, which means he handles everything the audience sees onstage.
0 kommentar(er)
