Page 12

While a singer is charged with interpreting music in a

understand the world in which the opera’s story will be

way that is appropriate to the character and the style

told. He doesn’t like to distract his audiences with excess

of the piece, it is up to the director, designers, and

material purely for the sake of spectacle; everything

choreographers to conceptualize the world they inhabit

onstage is designed holistically to serve a function in

and create a visual representation of it. Sometimes that

the opera, down to the subtlest detail.

may mean reinterpreting operas that have been staged innumerable times—some of which are centuries old.

Or not so subtle, as is the case with the giant hot pink piano in The Barber of Seville—truly operatic in size, but

That has been the case with Rossini’s The Barber of Seville

also functional as a desk in Act I and a gondola during

by Els Comediants—a Barcelona-based creative team

Rosina’s Act II aria. The oversized instrument was a

founded by Joan Font in 1971. Although Els Comediants

playground for the singers, and their ensuing antics

began as a theater group, their creative energy has been

incited the audience to break out into real laughter—not

infused into projects of various scales, ranging from

the muffled variety one typically hears at the opera.

…EVERY DESIGN ELEMENT ON S TA G E M U S T S E R V E A P U R P O S E street festivals to the 1992 Olympic Games. In 2011, Els

This type of functionality is a signature of Guillén’s style,

Comediants charmed audiences with their imaginative

which he attributes to his early study of theater direction.

production of The Barber of Seville for Houston Grand

As every note of music must convey special meaning,

Opera, directed by Font and designed by long-time

every design element on stage must serve a purpose.

collaborator Joan Guillén.

While Guillén’s geometrical aesthetic is in part influenced

Els Comediants made their opera debut in 1999, mounting a new production of The Magic Flute for Barcelona’s Theater Victoria that had been commissioned by Gran Teatre del Liceu. Font explained that his collective was approached to stage opera because of the group’s vivid imagination and their impactful, sentimental, and emotional direction—qualities required of any opera. The

by the paintings of Pablo Picasso, his economical and versatile designs are heavily inspired by the German Bauhaus movement. Describing the early phase of his creative process, Guillén used the metaphor of combining all of his influences and ideas into a juicer and blending them into one cohesive look—getting the creative juices flowing, so to speak.

Barber of Seville exemplifies the group’s uniform, angular

As we cheer rousing orchestral playing and virtuosic

look that creates dreamlike, naive, and even magical

singing led by an impassioned conductor, let us not

worlds. The artistic process is ever evolving, and during

forget the creative team that welcomed us into their

the early rehearsal period of the opera, the team buzzes

world, a realm in which we experience the heightened

around the room like children on a jungle gym. Through

emotions that opera evokes. Such emotions are

this prism of innocence and unbridled imagination, their

crystallized when Almaviva and Rosina are married in

language infuses Rossini’s work with explosive joy and

the finale of The Barber of Seville.

passion from beginning to end.

Excerpted from an article that appeared in Houston

The creative language of Els Comediants is very much

Grand Opera’s magazine Opera Cues, fall 2012. Used with

a product of the entire team, but it is expressed in large

permission of Houston Grand Opera and the author.

part through the designer. Guillén has been a scenic and costume designer for over 40 years, and recently finished his tenure as a professor at the Theater Institute’s School of Dramatic Art in Barcelona. Forget conventional period sets and costumes—Guillén’s designs pop with geometrical, linear, and boldly colorful elements. The warm-hearted Spaniard with a handlebar moustache describes how he employs clean designs with little ornamentation in order to help the audience immediately

10

James Byrne, a Chicago-based arts administrator, currently works in development at The Joffrey Ballet and has previously served in various capacities in marketing and artistic administration at Lyric Opera of Chicago, Music Academy of the West, Houston Grand Opera, and the New York Philharmonic.

Profile for Wolf Trap Foundation

Wolf Trap Opera Summer 2019  

Wolf Trap Opera Summer 2019  

Advertisement