opera piccola

                        ... and the Interview with a Madman

	Dr. Petrus v. Herberstein

The opera piccola was founded in 1987 in Bremen, Germany by Dr. Petrus Herberstein.

Thanks to its great success, the company was expanded to Vienna, and in 2004, the first production was performed in the Austrian capital.

As a graduate in medicine from the University of Vienna, I then participated in a conducting class of Prof. Swarowsky which shifted my life's journey. I further continued my education with Maestro Franco Ferrara in Rome.

After the debut with the Wiener Kammerorchester in 1967, a staged performance of Stravinsky's "Tale of a Soldier", I founded the Vienna Symphonic Chamber Ensemble, giving performances in Vienna, Italy, France ( Festival Toulon) and conducting as a guest, e.g. with the Salzburg Mozarteum Orchestra.

In 1983, I took a coaching position at the State Opera in Ankara, Turkey.

Then in 1984, onto the Städtischen Bühnen Münster (Germany) and afterwards to the Theater am Goetheplatz in Bremen (Germany).

After three years, I founded opera piccola in Bremen. Not only was I conducting, but found my directorial interest expanding as well. My goal was to present to the public, not only  unusual repertoire, but to engage them with a solid musical and theatrical entertainment.

A

Madman

Interviewed

•  "I carry the banner for the right balance of lyrics against music."

•  The timeliness of musical theatre

•  Singers

• "How to create a small fortune"

• How I became what I am

                                                   

                                                                                                   

How important might opera be to our contemporaries whose existence is accompanied by a button in their ear bombarding them with rhythm which is flooded by information from cellular phone, radio, TV and internet ?

 

Actually good old opera is totally not modern with our shrill and flashy existence of social unrest and insecurity. Noisy and provocative stagings promote its long lingering death. Thus it cannot unfold its very reason of being: the experience of emotion.

 

What can be done ? How do you react ?

 

I simply prefer the term of Musical Theatre to that of Opera. The latter implies plushy opulence. Yes, opera is simply too expensive if you consider that at the end of a performance you didn't understand anything. Rather than the fashion of overpowering the senses of the audience,  I intend to reach  and to entertain with a story. With that in mind, I examine librettos that have something to say to us, today. Contrary to current opinion there are many librettos of literary quality. --

And stagings can be used to modernize antiquated details that scare most people off. It is not necessary to destroy or trash the original material. One only has to work for comprehension.

 

How do you proceed ?

 

To reach the audience with a story I aim for a balance between words and music.  Musical theatre is the product of words plus music. The composer is inspired by the text, his music is based on it.  But: let’s be honest: do we ever understand what singers are singing?

 

I am convinced that we want to know what the singer onstage wishes to tell us in every single sentence, just like an actor would do. See - it’s hard even in everyday conversation to understand your  mumbling counterparts.  Even more so when there are other noises around. Think of an orchestra of eighty musicians playing their instruments. Listening requires concentration. If the text hasn’t gotten through to me, I give up. I lean back in the comfortable chair and let myself be entertained by great singing; sometimes by great scenery; and sometimes by the scintillating socializing in the intermissions; or by the gossip about famous singers whose private lives are eagerly discussed by the media – maybe by the great sound of the orchestra and the impressive arm-waving of the star conductor. This is what I meant by plush opulence:  “Opera”. The term   serving pure luxury.

 

What could  musical theatre give us if we would understand the text ?

 

First:  what the singers are telling us is heightenend by the music.  This is what involves our emotions - like no other art! This wonderful potential can't be taken advantage of, if that which the composer and librettist want  to communicate, can't be understood. --The lyrics are the base foundation of the composer’s work  and without the words, music hangs in midair.  This is what I mean about the dilemma of aesthetics -- polished, gorgeous, etc. -- but without any meaning. For example, beautiful music, but sung by villains!  The heart-stopping beautiful arias of Pinkerton or Don Giovanni give the listener no indication of what jerks these characters really are.  I therefore believe that opera could reach us in another dimension if the lyrics can be understood.

 

 Surtitles of the libretto don’t help ?

 

They do. But it’s a pure aid like a walking stick. The eyes are forced to switch between the written text and what is happening onstage. A singer should be able to pronounce understandably. This is hard work.  First, the orchestra must be controlled in order that the singer can better cut through the almost overpowering "noise". A famous conductor had a sign put up in the orchestra’s backstage room, reading “pianissimo is your hardest task”.  

 

“ I am aware of the singer’s difficulties”

 

The opera piccola is an underdog within the cultural establishment.

How do you avoid the mistakes for which you criticize the establishment?

 

Not that the establishment is guilty, but it is blind to its own habits and to maintaining tradition. Rather, this problem lies with the singers and their specific difficulties, there are many more tasks in singing than in acting. Singers have  to juggle voice technique, melody, rhythm, their ears are directed towards the orchestra, their attention focused on the conductor while they keep in mind the director’s instructions, all this while conquering stage fright and ignoring the urge to go to the bathroom.  Therefore, words are last and least and unfortunately, unacceptably so. Of course, very often singers have to sing in a foreign language they don’t even understand. But even in their mother tongue many sing only mechanically, and because their attention is focused on so many things I just mentioned, comprehension and expression is left behind.

 

All this may be topped by the fact that singers learn the words phonetically because many haven’ t  the slightest notion of the language in which they sing, be it Russian, Czech, Spanish or anything else.

The question arises "Why in the world should the singer even BOTHER about pretending to learn the text by heart and just vocalize it on an AHHHHHH."

 

How do you proceed?

 

First, I make the singer aware of these facts. I have them recite the lyrics the way an actor would. I work with body expression so that the text is translated by body language - without over-emoting.

 

Furthermore, in order to concentrate on the plot and the acting,  I reduce scenery and costumes, all that usual pomp, so that the singer is forced to develop her or his stage personality. 

 

I do not really understand why music academies do not emphasize acting. Gestural repertoire is reduced for tenors to stretching their arms forward with palms up, for baritones it is arm stretching with palms down. When I see that I would say that the singer wants to explain something to the audience.  And if you pay attention you will find that the posturing has nothing to do with the lyrics being sung.

 

There is a parallel in contemporary medicine. Young physicians are trained to perform an operation and to prescribe medication but have no notion of how  the patients feel, how they deal with their illness and how to overcome them.

These days we have alternative medicine that cares for the person as a whole  entity. I am what might be called an alternative musician. I am suspicious of "pretty" singing. I want to see the entire human being taking possession of a character onstage so that the part reflects something of life. I don’t give singers any peace unless this goal is achieved.

Opera should be staged in such a way that even the deaf may understand its content.

 

Do singers always understand what you mean and what is important to you ?

 

I hope so. I sympathize with singers because they are keen of learning something which does not give guarantees of an existence of security. They would be better off singing pop, so I consider them people who have a sense of great challenge, and I like that. Singers sense  that I appreciate their demanding career choice and that's why they work with me.

Opera performance is the result of difficult communication and, at the same time could be the result of the most complete communication, because it includes so many components: lyrics, music, acting. Together they all communicate  the Conscious and the Unconscious.

 

Timeliness

 

Couldn’t musicals be more in sync with our times ?

 

Absolutely. It involves lots of techniques - colors, electronic enhancement, dancing, lots of effects - it's much livelier! It's the language of our time. Even if it is from yesterday, years gone by or present day, it still is popular with most audiences. However, I care about quality and true feelings in a piece.  And as I am just a one man band,  I will do what I want and when I want. I don’t care whether or not classical music is out or in. I am convinced that I can spark the singers',  musicians' and the audiences' enthusiasm with my own!

 

Some stage directors show old opera in a modern suit!

 

Oh yes, how clever! The so-called "Regietheater" has an instantly negative connotation. Since I am now also working as a director, I work out the core conflict of a piece first.  Then I  look at similar conflicts in our present time. However,  one must be careful not to let this tendency to take over the opera's real purpose. The story-telling onstage must never become incomprehensible. On the contrary, updating the staging should improve comprehension by contemporizing the piece -- What does this opera say to me in this present day ?!

 

The stage is not the only place where artists are ignorant of what they are doing.

 

Correct. This is a general misdoing. Observing politicians and hearing their speeches, I can’t deny feeling the same sometimes. In view of the fact that these people govern the fate of their country, one can become somewhat uneasy.  Also, when watching people using their cell phones, I am under the impression that they rattle on as if there was noone on the other end. It may sound naively idealistic when I express the hope that my little opera company and its modest productions counteract this kind of superficiality. Superficiality strikes me as unworthy and  dangerous.  As human beings we should aim higher.  Otherwise it makes us possible targets for further manipulation. And I don’t care if I may seem ridiculous and somewhat  foolish, but I won't give up the fight to shoot for the stars.

 

You direct classical and modern opera- what are your selection criteria ?

 

Primarily, the message of the piece. Then, whether or not I can stage it with my modest means. As I am both conductor and director of this enterprise, I choose what I like, trusting that whatever entices me will stir the audience as well. And if I say so, it is usually successful. Therefore, my audiences likes the contemporary pieces I “confront”, because they see something out of the ordinary.  Established great opera houses have to conform while I have the luxury of choosing something different and unexpected!

 

 

How to create a small fortune ?

 

 

Where do you get your financing ?

 

From the onset, I have been always responsible for production costs. However, when one becomes an opera producer, in no time at all, one has reduced profits.  And time and time again, I am tormented by the problem of how to continue every production.

 

So : No big business?

 

No way. As anyone knows, even the great opera houses, even if they have  a permanently full house, can only cash a small  portion of their spendings. They are highly sponsored. My productions, too, are "sponsored" – but by no one other than myself. This is the price of freedom and honesty, and I still earn a little something. Isn’t everybody who is true to his own self a fortunate person though?

 

Tell me about the opera piccola.

 

I founded it in 1987 and I have succeeded in keeping it “piccola” and from becoming “grande”.

This means we are still a freelancing company and singers are not permanent but rather on a temporary contract valid for the duration of a production. I find a suitable venue for the performance, hope in vain for sponsors and support staff, and am happy that anyone contributes creatively.  It's normally insane, but it's always worth the effort !

 

Would you call yourself stubborn, strong, or crazy ?

 

All three. Without these qualities, art would stagnate and commercialize.

 

How I became what I am

 

How did you become what you are ?

 

Unlike many musicians I don’t come from a musical family. I used to be a rather dreamy little lad, however I remember that at the age of twelve when taken for a ride in my uncle’s red sportscar, I listened to the broadcast of a concert which totally wowed me . This, I consider was the initial spark! Since then  I have been listening to music whenever possible,  finding an inner exile for my emotions. I feel this is a homeland without borders.

 

The result is your uncompromising attitude and the desire to transmit your passion ?

 

My teacher, Maestro Swarowsky, encouraged me in my beliefs and my feelings, assuring me in my musical judgment.

 

Are you tortured by the question of meaning in your work ?

 

Actually, no.  I admit that, whenever I see a great production, I have a feeling of being overwhelmed and small.  I am still the seeker when I was young. I do miss the daily dialogue with those who are part of an operatic enterprise day-to-day. On the other hand, there is no waste of energy in never-ending discussions. And I never feel lonely as some members of the production team might feel when their interpretation is not accepted or executed.

Philosophy about the meaning of life is a luxury.  One shouldn't lose perspective with what one does, or what the world does with one.

Opera is my ideal basis for this philosophy. Besides arousing deep emotion, it is still quite artificial that only someone who is as thick as a plank would not question its meaning.

There is no definite answer to the question of what is happening to me, what is happening to others, what is happening in our world at any given moment, but, not to ask these questions, would mean to tumble into futility. Things shouldn't reach this point, and therefore I plead for any form of art that highlights this problem.  A plea for opera, a plea for musical theatre !

 

Interviewer Dr. Asil Nohsik