Pick Up Your Q: GLMMR

The last time we spoke with David Adam Moore (Light and Sound: David Adam Moore has Something to Say) and Vita Tzykun (Pick Up your Q: Costume Designer Vita Tzykun), the minds behind GLMMR were working tirelessly on previous productions with us. We're lucky to have them back again for Soldier Songs, where they've designed stunning and carefully crafted projections and imagery for this gripping, contemporary opera. 

The Atlanta Opera: You’re back in Atlanta! Any new finds since you were last here in September?

Vita and David: We've been working on the show 12-16 hours a day most days, so we haven't had much time to explore Atlanta, but when we got the chance, we'd sneak off to K1 Speed and race electric karts! Other favorites are Octane Coffee, Moe's Original Bar B Que, Bone Garden Cantina, and a memorable dinner at the Piedmont Driving Club.

David - You sang the world premiere of Soldier Songs and some of your vocals are used in this production. What’s it like to hear yourself in this production? And to work with your own voice?

Photo Ben Raftermen

David: In "Steel Rain," my speaking voice is used in the live performance track, along with the voice of David T. Little and a combat veteran who is being interviewed. The piece is about the shock and disorientation a soldier experiences when under fire from incoming ordnance, so the three voices are layered in and out of one another while speaking the same text. It's a wonderful example of how pre-recorded electronics can serve as an integral component in a live drama. Soldier Songs is such a powerful piece, and I feel honored to participate in it in whatever way I can.

GLMMR designed Winter Journey with the Opera in September. How has your design and production approach differed or remained the same with Soldier Songs?

Vita: The main difference in our process for the two productions is that David and I directed and designed Winterreise, then David performed it, whereas in Soldier Songs, we collaborated with Tomer Zvulun (director) and Matthew Worth (baritone) to create the piece. From a design stand point, we always start with the core - the story - and develop the production from there using whichever resources are available to us for that project. During Winterreise, David stepped away from the technical side of things during the final week in order to concentrate on rehearsing and performing, while Maxwell Bowman, our lighting designer and video tech, took over both lighting and video.

You are working many elements into Soldier Songs that are atypical to opera productions, like projections and pre-recorded audio. Can you tell us more about that?

Photo: Ben Raftermen

Opera has historically been one of the richest, most versatile, and most technologically advanced performance mediums in Western culture, so it's important that we continue the tradition of enhancing this venerable art form with the newest technology available. As with many of GLMMR's other shows, we're using a video projection technique called "3D projection mapping," in which the video projector's output is conformed precisely to the scenery, as opposed to being restricted to a flat screen. For Soldier Songs, though, we decided to incorporate a new, more complex 3D projection mapping technique that we're not even sure has been used in opera before. In this method, the set is modeled in 3D architectural software, then a "skin" of video is placed over that model in 3D video software - this allows us to introduce elements such as virtual lighting/shadow effects and geometrically precise mapping effects before the video files even reach the projector. We also used a new technique of scenic projection surfacing that allowed us to coat the set with a dark grey paint mixture that is almost as reflective as a white surface, but with superior contrast. This required a lot of research and experimentation on our part, but we found a formula that works, and we look forward to keeping it in our bag of tricks for future productions.

Photo: Ben Raftermen

The pre-recorded audio is a component of the published score for Soldier Songs, and is used in all of its productions. Aside from David's narration, we didn't have a hand in creating the soundscapes - they were created by David T. Little, but we created video sequences to go along with them and developed a way for the audio clips to be synchronized with the video clips during live performance.

One part of the performance includes actual footage shot from an Abrams tank. How do you curate this (mountain of) content to add to the story being shared on stage?

We work a lot in the filmmaking and photography worlds, so we prefer to shoot as much of our content as we can. However, this wasn't an option with military and wartime footage, so we spent months sourcing imagery, carefully going through it, curating and editing it, then distilling what will be shown on stage to only the most essential elements that will drive the story forward. It's not easy, as we go to great lengths to avoid using copyrighted material or altering and presenting it to abide by Fair Use guidelines. The pre-show photo sequence in Soldier Songs is comprised of photos submitted by Atlanta area Vietnam veterans. This was Tomer's idea, and we were honored and thrilled that the veterans were willing to participate in that way.

David T. Little (composer) was inspired by the compositions of Danny Elfman. Who or What inspires your work?

In this case, our biggest inspiration came from the combat veterans of all nations who have risked, offered, or gave their lives in service to their country. www.woundedwarriorproject.org


Are you able to improvise in these types of productions?


Not in opera, for the most part - there are too many elements that must be in lock-step with one another so that the drama can move forward. The use of video is more flexible than conventional scenery, as it can be manipulated to a great degree during technical rehearsals. However, complex video sequences take a lot of time to plan, produce, and render, so while the flexibility is there, it isn't infinite. While the creative process includes some improvisation, everything you see in the performance has been created, organized, programmed, timed, and logged well in advance of opening night. For some of GLMMR's other projects, such as live concert visuals, dance, or performance art installations, we've used video and audio as a performative element - manipulating and triggering content live.

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Pick Up Your Q with Alan Higgs

You may know Alan Higgs from his role in The Marriage of Figaro as Antonio, or his dual role in La bohème as Alcindoro and Benoit. This season, he will sing the iconic role of the Pirate King in Gilbert & Sullivan's classic operetta, The Pirates of Penzance. As part of the Studio Tour, Higgs will perform in front of hundreds of students in schools across Atlanta and the greater metropolitan area. We caught up with Alan to learn more about his background, how he gets into his pirate character, and to hear his advice for young, aspiring performers.

The Atlanta Opera: Did you grow up in an opera household?

Alan Higgs: I was very lucky as a child and my parents supported me in everything that I wanted to do. I was always encouraged to follow my dreams. I began singing in my church choir as a little one and it took off from there. I joined chorus and did all of the school musicals from Elementary through High School. It wasn't until I went to Interlochen Arts Academy, a boarding school for arts students in Michigan for my senior year of high school that I was introduced to the opera world. It was there that I did my first operetta, Ruddigore, also by Gilbert and Sullivan. From then on I was hooked!

Higgs as Benoit in La bohème (Photo: Jeff Roffman)

How does the Studio Tour, which brings opera into schools, differ from your mainstage work?

The Studio Tour has a few differences from mainstage work. First off they are much shorter productions. They usually run 45 minutes to an hour depending on the production and age of the students. There is far less pressure in a production for students then in mainstage work in my opinion. 

From my experiences, I have found that students are usually fascinated by anything you do as long as you stay engaged and focus on the storytelling. They aren't as concerned as much about whether your high note was perfect or if you mess up. It's live theater mistakes are bound to happen once in awhile! Studio tours are usually also geared more towards the younger generation and either picked because the plot is relevant to kids or is updated in a way that they can relate to. For example, at Florida State University where I did my Masters Degree, we did an updated version of L'elisir d'amore called "Glee"lixir of Love. This was during a time that the show Glee was very popular and they students were able to relate more to the show because of the references to Glee that we used in our Studio Tour. it was a blast and was very well received. For most of these kids it is one of the first times they are seeing an opera production and I have found that they are just very appreciative of the new musical experience. 

I really think that the Studio tours are crucial to the preservation of our art form. Reaching out to our youth and sparking a new interest in them whether it is performing or just the enjoyment of watching the productions will help secure a future for our art form.

Higgs as Antonio (rear) in The Marriage of Figaro (Photo: Roffman)

The Pirate King is a fairly over the top role. How do you go about getting into that character?

The Pirate King is indeed a very "over the top" role. While this type of role can be very challenging it can also end up being one of the most fun. One of the best parts about singing opera for me is getting to be someone totally different than myself. Getting into the character is a huge process both physically and mentally. Development of a backstory for the character, specific physicalities, character relations, and costumes and make up are all a big part of the preparation.

What can an audience member expect from The Pirates of Penzance?

The audience can expect to laugh and enjoy a timeless Gilbert and Sullivan work that has been entertaining audiences around the globe for years and will continue to do so for years to come. The Atlanta Opera has put together an All-Star cast of young professional singers residing here in our city that are eager to showcase their talents in this brilliant piece! Of course they can also expect a few ARGHH's in there as well. ;)

Higgs as Alcindoro in La boheme (Photo: Roffman)

Any advice for young kids and students who want to get into opera and theater?

My advice for kids wanting to get into opera and theater is to go for it! Join a choir, take voice and acting lessons, take up a musical instrument, audition for the school and community productions, basically do everything you can to immerse yourself in the art form and see if this is something you really enjoy doing. One thing I have learned is that natural talent will only get you so far. You really have to be driven, work hard and be passionate about music to succeed in this industry, and know that if one door closes another right around the corner could be opening for you - so don't ever give up!

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Behind the Scenes with Matthew Worth

 Baritone Matthew Worth (who sings the role of the Soldier in "Soldier Songs") opens up about his biggest influences, his real connection with Lieutenant Audebert (Silent Night), and his love for live theater. He also shares four words of sage advice for up-and-coming artists.




The Atlanta Opera: Did you grow up around opera?

Matthew Worth: Nope. We were more of a folk & rock music house. There was a lot of Paul Simon, Peter Paul & Mary, Billy Joel, and James Taylor on LP. 

Who or what has been the biggest influence on your career?

My parents for the work ethic they instilled in me. There have always been people out there with more talent, but a lot of times my dogged preparation and passion win out.

"Soldier Songs" rehearsal in Atlanta, November 3, 2015

This time last year, you sang the role of Lieutenant Audebert in Silent Night at Wexford Festival. Can you tell us what you remember most about that production and the role?

Lieutenant Audebert is introduced to the audience as he leaves his pregnant wife for the battlefield. For this production of Silent Night, I had to leave my pregnant wife back home for close to two months. Being apart from her was absolute torture, but it fueled my connection to Audebert.

What was the experience like playing a soldier last fall and playing one in Soldier Songs this year?

They're very different characters for innumerable reasons, and yet war binds them in countless ways, as well.

"Soldier Songs" rehearsal in Atlanta, November 3, 2015

What is the experience like working with Tomer Zvulun, a veteran?

I love working with Tomer. We're both strong willed in our takes on characters. We're both willing to hear each others arguments and to see them play out. We always come out on the other side with an honest and true portrayal.

What’s it like to be in Opera – and the live performing arts – in this “iPod era”?

The thrill of live performance - whether it be the theater, the symphony, the opera, and others - has yet to be matched by recording. People are struck by the sight and feel of our soul-bearing humanity (when it's done well, I mean).

Any advice for young people who want to become Opera singers?
Live first. Then decide.

Read more about Matthew Worth, including his upcoming role in David T. Little's JFK, at www.matthewworthbaritone.com.

Photos by Kristin Hoebermann

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

The Atlanta Opera Ball

The 2015 Opera Ball was a masked affair held at the St. Regis Atlanta. Ball Chair Mary Calhoun hosted the fabuluous evening with The Opera, which honored Martha Thompson Dinos. The night was filled with dancing, dining, live & silent auctions, and performances by Mezzo-soprano Jamie Barton and Tenor Russell Thomas. Photos by Ninh Chau.

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

On the Road with Nicholas Brownlee

The Atlanta Opera: How do you balance getting into character in each production while making yourself comfortable in a new city? 

Nicholas Brownlee: I actually think this could be the hardest part of the career: Getting settled in a new city. I always find the closet Target, subway and pharmacy immediately, that always helps me feel acquainted with the area I am in and…it’s TARGET.

What do you think of Atlanta? Any particular place, meal, or adventure stick out so far?

This trip to Atlanta has been different than most gigs for me as I was born and raised in Mobile, AL and frequented Atlanta often. However, I have discovered some wonderful different places this trip. There was the best brunch of my life at Rise and Dine (across the street from emory). If you don't go there and get the quinoa grits (I know, I know I had the same reaction but trust me!) you’re missing out! In addition to the great eats, I am fairly confident I could happily live in the Lenox mall.

One would imagine that constant travel could strain your voice, as well as your mental and physical fortitude. Any thoughts on keeping in good health on the road?

As my colleagues like to often remind me, I am still quite young so it physically doesn't really hit me that hard, however, mentally it can be tough. Being away from loved ones and your own bed takes its toll. To get through that, my motto is “sprout where you are planted.” I always try to get out into the city I am in and really take in the culture - it helps tremendously in feeling like you're not in a new place every six weeks and doesn't allow you to lament the people and places you miss.

What’s the first thing you do when you go home?

Crash into my bed like its a pool in August.

What is your craziest travel story?

Oh boy, what a question. There have been many but the wildest was when I traveled to China, which was first trip out of the country…ever. I landed and wasn't able to speak English to anyone for two days, somehow managed it and ended up having a great time there! 

What are the 5 things you must have when you travel?

I don’t think I have any “must haves”. I HATE packing and I always tell myself: “I’ll just buy it there if I forget something.”

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

A Life of Travel with Leah Partridge

The Atlanta Opera: How do you balance getting into character in each production while making yourself comfortable in a new city? 

Leah Partridge: I find it easy now because I have been doing this for 13 years. Being on the road gives me time to be alone and that is when my creativity and ideas have space to flow. However, I am singing at home now and I find that because I am not struggling with trying to find the grocery store or my way around town that I am equally relaxed and using my time differently.

What do you think of Atlanta? Any particular place, meal, or adventure stick out? 

Atlanta is awesome! There are so many wonderful things to do here. I am thrilled to have moved back here three years ago. I really love all the restaurants. I live in the Midtown Westside and my particular favorites are JCT Kitchen and Bone Garden. Oh, and I love Bocado for a burger. I took the guys in the cast here for lunch one day and they agreed it was AMAZING! You can't go wrong with the other arts organizations around here. I encourage everyone to check out the High Museum, the Botanical Gardens, the Symphony and drive up to Kennesaw State and see the new Zuckerman Art Museum, as well. If they want an adventure out of town to really see the south, I encouraged my colleagues to take a drive to Macon, GA to see all the Antebellum homes Sherman missed in his march.

One would imagine that constant travel could strain your voice, as well as your mental and physical fortitude. Any thoughts on keeping in good health on the road? 

Good health is the key! I maintain exercise at all times. It keeps me in shape so that I can fall on the floor countless times during the rehearsal process if I am playing a character who is dying. It also helps me maintain cardiovascular strength which is a must these days in opera. There is so much running around happening now in opera. You must practice not running out of breath. So, I like to run on a treadmill and practice singing if I know the production demands it of me. For mental health, I stay connected to friends and family. Facebook is so useful to me on the road.

What’s the first thing you do when you go home? 

See family! Enjoy my soft comfy bed and head to the country outside of Athens or to Lincolnton, GA.

What is your craziest travel story? 

I once slept for fours hours on the floor of the Madrid airport. It had been a very long delayed trip and I was exhausted. I didn't even care. People were stepping around me.

What are the 5 things you must have when you travel?

1. Internet
2. Running shoes
3. Yoga mat
4. Electric toothbrush
5. Did I mention Internet? It's made everything easier...

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

The Traveling Performer's Life: Maria Luigia Borsi

Atlanta Opera: How do you balance getting into character in each production while making yourself comfortable in a new city?

Maria Luigia Borsi: In general, I can say that I am a person that has trouble dealing with change, maybe because I come from a country where there are unchanged monuments and traditions that have been around for thousands of years. On the other hand, the life I live is a non-stop adventure, full of new people, new places and different languages. I have to admit, it’s not always easy to integrate myself into new situations. Basically, I can sum this up by saying, you can take the country girl out of the country but nobody can take the country out of the country girl ;-). 

The characters that I interpret cannot have jet lag. Theatre, anywhere in the world, is a sacred place, magical and timeless; where everything takes shape and life in a natural way. Fundamentally, it’s the characters themselves that help make me feel more comfortable wherever I am.

One would imagine that constant travel could strain your voice, as well as your mental and physical fortitude. Any thoughts on keeping in good health on the road?

The voice is a very delicate instrument, it is affected by many factors: weather changes, jet lag, mood swings, hormonal factors and personal problems. I try to have a healthy lifestyle: eating well, a bit of physical activity, sleep well...but it isn’t as simple as it seems because a singer's life is irregular and full of adrenaline. The first thing I do in the morning is drink fresh squeezed lemon juice (no sugar), it' s a natural antibiotic. I normally drink a lot of water and I often have propolis caramel in my mouth in order to humidify and pamper my instrument. In my opinion, it's important to try to be in contact with the needs of the body, be calm and have confidence.

What is your craziest travel story?

Unfortunately I don't have a crazy travel story, but I could tell many stories about  crazy tenors ! ;-)

What’s the first thing you do when you go home?

I kiss my husband Brad, my daughter Ambra, il mio babbino caro (my dear father), I hug my dog Mixy and my three cats: Alfredo, Merci, Danke. After that, I gaze upon and contemplate about our beautiful garden, I observe the progress that the plants have made during my absence.

What do you think of Atlanta? Any particular place, meal, or adventure stick out so far?

I live in Tuscany, in the countryside, in a house in the middle of fields, without television. Atlanta is a huge city. Every time I walk down the street I feel so small. Every day is an adventure while driving a car here! But, there are some lovely places in Atlanta, houses and gardens as beautiful as a fairy tale where I could surely feel like a gnome in an enchanted world.

What are the 5 things you must have when you travel?

I need my cell phone to keep in touch with my family, the score, my daughter's photos and drawings, a humidifier, a coffee mocha, olive oil (because good olive oil is nearly impossible to find outside Italy), some pasta, a bottle of wine (or two) and Parmigiano cheese. Pavarotti traveled with his entire kitchen, so why can’t I? ;-))))

Gianluca Terranova: Life on the Road

The Atlanta Opera: How do you balance getting into character in each production while making yourself comfortable in a new city?

Gianluca Terranova: Every time I go to a different city, I filter my character with the director and the conductor and the rest of the cast. I need a good team to do my job, because I believe in teamwork. when I have that, then I can put all my experience and my passion to work to give it my best.

What do you think of Atlanta? Any particular place, meal, or adventure stick out so far?

I don't know Atlanta well, but I will have time to explore the city. I like the weather, because it's the same in my city - Rome, Italy. I see very nice homes and manicured gardens, the people are very kind and this is good for my soul, and also the state of my mind it takes to sing better! Every time I'm in the USA I always have a feeling of great positive energy!

One would imagine that constant travel could strain your voice, as well as your mental and physical fortitude. Any thoughts on keeping in good health on the road? 

When the commitments are close to each other, a good thing to do is sleep well when you can.

What’s the first thing you do when you go home?

Sleep in my bed and relax with some friends and family. And off course warm up my voice with the Rigoletto score.

What is your craziest travel story?

I was in Switzerland for a summer opera festival and had to go to Lugano to take my family to the train station. I had the [navigation device in] my car take a shortcut because I was late. So I followed the navigator and I found myself climbing a mountain road. I arrived at 3000 meters! I saw the glaciers, waterfalls and snow in July! I was only two hours on the road and I was afraid because I had a short-sleeved shirt and it was zero degrees outside! Fortunately, the road started down and got on the highway!

What are the 5 things you must have when you travel?

Moca caffe, parmigiano, medicine, recorder, and [my] voice!

The Discoveries Series "Discovers Atlanta" at Wax n' Facts

Rolando Salazar (Assistant Conductor/Music Administrator)

The Discoveries series continued to "Discover Atlanta" at Wax n' Facts record shop in the heart of Little 5 Points. Over the course of a wax-meltingly hot afternoon, Rolando Salazar (Assistant Conductor/Musical Administrator) set out to pick his 5 favorite recordings of all time. Rolando is a highly trained chorus master and pianist, and true Texan. Which means we already expected a real curatorial bonanza. Still, he didn't hesitate to surprise with his final Top 5 albums. 
Enjoy, Atlanta.

For 38 years, Wax n' Facts has helped keep Little 5 Points' heart beating with soulful vinyl, CD's, tapes and furbelow dating back decades. The historic athenaeum is where so many albums - oft overlooked for generations - are ripe to be plucked, ripped from their original seal, released of the hoary air from decades past, and embraced by a needle and tone arm.

Rolando kept searching. Sean (owner of Wax n' Facts) helped out and offered a few of his curated albums, like Botticelli & His Orchestra. This album has some amazing renditions of 70's hits, like "It Never Rains in Southern California."

Crate digging DJ's, purists, and young guns wearing The Cure t-shirts (ironically or not) breezed in and out of the local record temple during the day. Some journeyed to observe and others to spend their hard earned greenbacks on memories and treasures.

Rolando kept digging. Two hours and $23 later, he had finally found his records. Here is the Top 5, in no particular order and with commentary:

#1: La Bohème: 
"Because you can’t have too many Bohème recordings! Plus, Carlo Bergonzi’s voice is pure gold."

#2: The Merry Widow

"Who doesn’t love The Merry Widow?!"

#3: Here You Come Again - Dolly Parton
"Because, Texas! So, I was born and raised in Texas, and Country Western music has always been a big part of my life. I feel so many of the Country Western songs are little miniatures with great stories and emotion, just like lieder and arias in the Classical music world."

#4: Strauss sung by Leontyne Price 

"The last work Richard composed was his Four Last Songs.  If I was stuck on an island with only one recording, it would be a toss up between the Four Last Songs and a Wagner Ring Cycle."

#5: Il ritorno di Tobia - Haydn 
"A work I don’t know at all, but have heard of. Sometimes good works become obscure because they are completely overshadowed by the popularity of other works, in this case, Haydn’s Creation. Plus, my middle name is Tobias."

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Light and Sound: David Adam Moore Has Something to Say

This season, we open our Discoveries series with Winter Journey (Winterreise). Staying true to the Discoveries mission to find new works and new perspectives, we will bring David Adam Moore to Atlanta to sing the lead role and to serve as production designer of this production. Opera News praised Moore for his "consistent delivery of beauty." You can expect this, and more, in September. We asked David about his upbringing, his dual role, and how we listen to (and experience) classical music in an iPhone world.

David Adam Moore in Winter Journey this September 17, 19, 20 at the Conant Performing Arts Center

The Atlanta Opera: Did you grow up in a very musical household?

David Adam Moore: Yes. The Moores have been professional musicians in Texas since at least the 19th century. I'm the first one to pursue classical music instead of Country-Western (and its earlier forms). I grew up seeing my grandfathers, father, aunt, uncles, etc. play music in nightclubs and at family get-togethers. My father toured with a top 10 radio artist named Tracy Byrd for several years. Watching my family sing or pick up instruments and just start making music has proven to be a huge influence on my approach to music-making, even in classical music. 

Opera: You have a dual role in Winter Journey. Tell us what it’s like to perform in a show that you also design.

David: It's a dream come true, to be honest. My orientation to art and music has always been both aural and visual, so this is a unique opportunity to explore the work and tell the story on both fronts. As a result, the audience experiences a unified expression of the story. From the production end, it surprisingly makes things run a bit smoother because there is no need for channels of communication and negotiation between director, designer, and performer. My partner in life, art, and general mischief, Vita Tzykun, is a brilliant set and costume designer with an immense visual imagination and superb technical skills, and as the Winter Journey project has developed, I've been able to involve her more and more, so that what you will see in Atlanta is the result of a long-running collaboration between us. 

The 3D projection mapping on stage changes with each song in Winter Journey (Winterreise)

Opera: How do we listen to classical music in the age of the iPhone?

David: That's a good question, and it seems everyone is figuring this out for themselves. On one hand, it's exciting because we have unprecedented access to high-quality recorded music from all eras. On the other, music has become more individual and less social. Perhaps this makes live music a more special experience than it was a decade ago. 

Opera: How does technology in a visual world affect our listening skills?

David: For Winter Journey, our aim is to use the video as a language to guide the audience through the emotional journey of the poet. We use a video technique called 3D projection mapping to transform the set into a self-contained landscape that can change completely from song to song... sometimes guiding the narrative by suggesting time, place, and environment, and at other times drawing the audience into the more abstract, symbolic world of the poet's thoughts and emotions. The video content consists entirely of moving images - no still images are used.

Opera: Your company, GLMMR, is designing Winter Journey. GLMMR stands for Giving Light Motion + Memory + Relevance. How does that translate into a production like this?

David: GLMMR’s Winter Journey started as a video accompaniment I had created for my recital performances of Winterreise and through a series of workshop presentations in NYC, Kansas, and Houston evolved into a fully-immersive presentation in which the performer functions within a landscape of video imagery. We are particularly excited about Atlanta’s production, because we have designed a new set and created new video material that includes locations ranging from Times Square to the Utah Salt Flats. GLMMR is an umbrella or "brand' under which Vita and I collaborate together and with a large group of contributing members from all ends of the art world. Most all of Winter Journey's set and projection design comes from Vita and me, but the video content has been created with the participation of over a dozen GLMMR members and contributors from all over the country. GLMMR's artistic mission is to explore the spaces between the lines - "that thing that didn't occur to you." Our primary media are light and sound in all of its various forms. 

"Our aim is to use the video as a language to guide the audience through the emotional journey."

Opera: What draws you to a classic composition like Schubert’s Winter Journey?

David: The music and drama of Winter Journey is rich, gorgeous, and powerful - one of the greatest works of art song ever created. I think the piece is underrepresented because professional song recitals have become increasingly rare in recent years and audiences in America haven't had many opportunities to experience it. Unlike many stage works in classical music, the piece is very universal and not tied to any particular time period or cultural context. This makes it easy for contemporary audiences to relate to the poet's situation and see parallels in their own lives.  

Opera: You clearly stay busy. What’s your ideal “day off”?

David: Day off?? LOL.

Winter Journey

Conant Performing Arts Center at Oglethorpe University

September 17, 19, 20, 2015

Tickets on sale now (Click here)

Photo Credit: Denny Wells

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.