Opera 51 - Turandot Production Support Information Technical 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 stage.)
• 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 Massachusetts.
• 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.

Lighting

• 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 board.

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 performances.
• 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.

PA announcement

• 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

• 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 Feed

• 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 that feed.

Professional Photographs

• 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.