Technology and Spectatorship
Edited By Héctor Pérez
A Conversation with Pietro D’Agostino, Video Director at the Gran Teatre del Liceu What is the process of preparing for filming? I don’t have much time to prepare an opera recording. I begin thinking of the shots with the first rehearsals on stage. Then, I only have two- to-three weeks to prepare my story-board for the recording. They are very full working-weeks: seven days a week, ten-to-fourteen hours a day, but it is still a short time. We don’t have the chance, as other production members do, to work with it from its conception. We al- ways come behind the opera production. Basically, I go to rehearsals to get to know all the main scene movements and secondary reactions. Eventually, I know them by heart. Even though every performance is different, it is incredible how much singers repeat themselves in the details of their acting. This is probably due to the fact that music gives them a very strong structure. At this time, I begin recording something on video too. Since Liceu can count on permanent video broadcasting facilities, I am lucky enough to get to use several cameras and begin testing camera positions and angles. As we all know, opera displays itself not only in time, but also in space, which means that further actions are taking place at the same time in different spaces. On the other hand, video develops its structure only on a time-line (mainly). What is important, then, is to make the right choices to...
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