What If is the question first asked by the great father of theatre technique, Constantin Stanislavski . It is the springboard for the actor’s imagination.
We often forget (or neglect) the great aspect of theatre in opera. We rightfully mistake its theatre as its music. I have always said, that the greatest thing about opera, is that the music is the actor’s subtext. It is there for us if we listen and allow it to move us. It supports our thought process. Yet, the actor must still honor the text represented in many languages and honor the purity of intent, sometimes, despite the power of the music. Opera is great theatre speaking to the human condition, of conflicts that change us, of moments where difficult decisions must be made.
This inaugural production celebrating the first “class” of young artists to be sponsored in a program toward their further development by LA Opera was written to honor the actor’s process in opera.
What If explores theatre technique and exercises as the singers themselves emerge as complete singing artists.
(The program is now referred to as the Domingo-Colburn Stein Young Artists Program at LA Opera)