Blogs

Portland Opera goes to the prom

We recently threw our annual company holiday party. Long-time readers of this blog may remember last year's party, which was game night themed. We've also had a Hollywood party, an 80s party, and a tiki party. We don't mess around when it comes to celebrations.

The theme this year is one we've been thinking about for years: PROM! There were seven of us on this year's holiday party committee. We take our jobs very seriously. We filmed a short video invitation:

 

 

We sent the staff a "press release." We set up a table in our monthly lunch get-together so that people could pick up their tickets. Unlike previous years, we scheduled the party to take place during a period when there was no rehearsal scheduled in the room immediately before or after the party. Most years we only have one day to set up and one day to tear down because there are other things going on in the space. This year, we had all week. And we needed it, in order to take our music studio from this:

 

IMG_20121112_111922

 

to this:

 

IMG_20121115_112404

 

Would Mozart have liked our Giovanni? (and other unanswered questions)

 

dg

© Portland Opera/Cory Weaver

 

 

Last week, I wrote about the impassioned discussion that went on over at our Join the Conversation page for Don Giovanni, and what questions it raised for me about the consumption of art. To read part one, click here.

 

There's something fundamental I'd like to address that came up as feedback to last week's post: We definitely want you to like all of our productions! In no way was I trying to suggest that some of our shows are meant to be cerebral and academic. We want you to enjoy yourselves! We very much want you to be moved. What I wrote about was, maybe, more about what to do if you find yourself face to face with something far different than what you expected. An exercise in finding the alternative good, if that makes sense.

 

Because, on a very general level, it seems like one of the biggest problems that those who did not like this Giovanni had was that they came in expecting what you might call a 'classical' production and faced our relatively stark, 'modern' one instead. Obviously that is a jarring and potentially disappointing experience. I've found myself again wrapped up in conversation about this in the hallways at work. Should we have 'warned' our audiences more effectively? What would such a warning even look like?

 

Filed under:

On David Lynch, Don Giovanni, and the meaning of art (part 1)

Let me tell you a story. You know how I like to tell stories. In college, my roommate and I rented Mulholland Drive, the David Lynch film, which had recently been released to DVD. We had seen trailers, but we didn't really know much about the movie. We sat down and watched it straight through, and when it finished we found ourselves completely befuddled. We had no idea what on earth we had just seen. We could not make heads or tails of it.

 

Somehow the issue was not, did we like it? Instead the question became, what was it doing? What was it trying to say?

 

We got up and shook ourselves off and went and sat in my bedroom, where we did probably two hours' worth of internet research about the film. We read a bunch of input from other viewers, and, from the conversations we read, we were suddenly aware of a huge plot subtext we had missed. We sat in an excited, baffled chatter on my bed, talking over some of the scenes. I read aloud from critical reviews and online forums. We sat down the next night and watched the film again. We puzzled over it. It haunted us a little. In the end, we watched it three times. I'm still not sure we liked it, but we were fascinated by it, and captivated by the process of figuring it out. Even though we'd just wanted a simple diversion on a Saturday night, we weren't angry when instead we ended up with what amounted to a casual academic project.