The Indianapolis Opera presented one of their most ambitious projects, "Opera Goes to the Movies". This was a world's first. What the IO put on was the first time anything like this had ever been contemplated. Film clips were shown on a giant screen, sometimes with a musical score, sometimes not. When there was background music it was operatic. Then live music came from the orchestra pit, and singers appeared on the stage. The transition was nothing short of miraculous. The smooth transitions from film clip to live music were magnificently seamless. The credit for this magic must go to a lot of talented people. Among them would be Derek W. Tow, the Visual Producer and James Caraher conducting the exciting Indianapolis Chamber Orchestra, which sounded like the hundreds of talented musicians in a recording studio. The formula was simple. Film clip with musical score to live orchestra with singing performers.
The multitude of movies included film clips from "Mrs. Doubtfire" to "Apocalypse Now" and "The Blues Brothers" to "Moonstruck", "San Francisco", " Breaking Away", "Life Is Beautiful " and "Bananas" plus more in the first part, which featured music by Rossini, Wagner, Puccini, Gounod, Offenbach and other composers. After intermission film clips from "Quantum of Solace", "Awakenings", "Philadelphia", "Guarding Tess", "Cape Fear", and the huge series of "The Godfather" films ended the concert. In this second half music by Puccini, Mozart, Donizetti, Mascagni and other opera composers were featured.
The singers all were fantastic. Davia Bandy, a mezzo soprano, along with three other melodic sopranos Stella Zambalis, Rachelle Gilmore and Angela Gribble filled Clowes Hall with their voices from heaven. The tenors included Jon Jurgens and Mark A. Thomsen with baritone Mark Gilgallon, who all showed their exceptional mettle.
The host was wise cracking comedian Phil Van Hest making his IO debut. He did not seem ill at ease, but very comfortable in spite of not being familiar with opera.
I do have a suggestion though, for the next installment, if there is one, and I most certainly hope there is. Shorten the number of film clips. Describe to the audience why this particular music was chosen, how it was chosen, and what it was supposed to deliver.
I am looking forward to IO's next production in May, Gounod's thrilling opera, "Faust".
