||Opera 51 - Turandot Production Support Information
Overview of the Production
Tech Week June 5-12, 2022
Last updated 3/10/2022 by David Siktberg
recent changes in red
This page summarizes key technical information about the Turandot production.
If you are aware of any inaccuracy or incompleteness in this description,
or of any impediments to carrying out this design, please alert David S (and
Alan and Carole)!
Summary / Overview
- Events with public attending are the covers' dress rehearsal on
June 9th (7:30pm) and principal performances on June 10th (8:00pm) and
12th (2:00pm), 2022.
- The performances will be presented on the drama stage.
(Originally they were going to be presented on the music stage, but
since the Players no longer have a production at the same time as the
Turandot performances, we have opted to use the better-suited drama
- We are relying upon the Players' Titanic sets being struck
before May 31, the beginning of our tech week, including removal of the stage extension.
- Alan Yost is conducting, Robin Farnsley is directing (driving out
from Utah for several weeks to do that).
- The large orchestra appears still able to fit within the footprint
of recent operas past. Alan will place harp, celeste, and timpani
at the two sides of the stage. This is being done to avoid
removing additional rows of audience seats, which would reduce the
number of tickets we can sell. Entrances and exits of principals
will have to happen from back stage, not from the audience level
- Principals will sing in a fairly shallow strip across the front of
the stage. Limited movement of principals will be involved in the
staging. Principals will be OFF book and in costume. Robin
is responsible for the costumes, most of which are already here in
- The large chorus will be seated on chairs on platforms a short
distance back from the lip of the stage, behind the space where
principals perform. They will generally stand when singing. There will be essentially no movement of the chorus during the
performance, though a few singers may come and go from their seats.
The chorus will be on book and NOT in costume, but
dressed in all black.
- Very minimal sets and props will be involved. A few things
have already been requested from the Players.
We hope to borrow the chorus platforms from Phil
Drew. Nothing will need to
be raised / lowered, nothing will need to be moved on or off stage.
- A fairly simple lighting design is envisioned, since there is not a
lot of movement and action takes place across a small portion of the
drama stage. Details are being established. Not clear yet
who will do the lighting setup - hanging lights and programming the
board. Robin will collaboratively direct the design process.
- Someone that can read music needs to be found to run the light
Sound (Paul, please vet this information!)
Paul Gill has been leading the effort to lay out the overall
strategy and design for sound support, and has involved Tom Powers
(Players) and Steve Barbar (eCoustics) for design specifics.
Four sound applications are involved - see below. Design efforts
continue. Currently the strategy is as follows:
Sound Enhancement for the Audience
- The Player's new sound system ("M32") is self-adjusting, and we hope
that will eliminate the need for a soundboard operator during the
- eCoustics wants to try out two special shot-gun mikes to feed
into the sound enhancement system, and do an A-B comparison to
establish whether they provide better sound - at no cost to us.
- Given the placement of singers on stage, floor mikes and the
overhead line array mikes are the main mikes to be used.
- Wireless mikes for principals who do not have large voices have
been ruled out, being deemed unneeded and impractical. Floor
mikes will - we hope - make them audible.
- A block diagram of components has been created.
Sound to include in the professional video recording
- David Atwood needs to receive an audio feed to add to the video
he is making. The block diagram of components includes an attachment
point for this, so he will not have to set up separate mikes for
this purpose. Further specifics to be resolved.
Sound to the green room
- Sound and video needs to be fed to the green room monitor and
speakers, as always.
- The 51 Walden president makes a fundraising announcement before
the performance begins. In the past we have used a hand-held
mike and the PA system. We assume that is still the best
approach for this brief need.
- Surtitles will be projected high up on the walls to the sides of the
proscenium arch, as has been done for most Opera51 productions.
- The two projectors currently aloft and pointed towards the back of
the hall will need to be relocated to point at the proscenium sides, as
will the projection screens. The lift is required to do this -
need to coordinate with an authorized operator on an appropriate day
before tech week so Dave Siktberg can do this.
- The laptop running the surtitles will be located in the booth along
with the light board. Most needed cabling is aloft already, Dave
Siktberg will install the rest.
- Laura Prichard is creating the title file. Joe McIlwain has
been asked to run the titles, though not yet confirmed. An early run-through is needed to
allow time for changes if needed.
Simple Video Recording and Green Room Monitor
- We would like to use the Player's overhead video camera to make
single-camera recordings of rehearsals and performances as we have for most
past performances. I post those nightly on our web site for the
company to review. The overhead video setup feeds both the monitor in the green
room and the mini-Mac used for recording the video. (Audio is
provided separately to the mini-Mac.)
- Unless otherwise advised, I assume we should contact Charlie Kiefer
to arrange this.
Professional Video Recording / Broadcast
- David Atwood is on board for getting equipment (and staff?) from MMN
to make a five camera video of the Sunday afternoon performance.
- The piece has recently entered the public domain, so there should be
no issues about purchasing broadcast rights.
- David's need for a high-quality sound feed to be merged with the
video has been included in the Sound design, described above. An
alternative is for David to install his own microphones for generating
- We will ask John Riley to again take still photographs of principals
in costume and of the production on stage at the principal's dress
rehearsal on June 8th. We will ask if he can also take photos of
covers in costume that same day.