I know that she has been cast for the Ghost of Versailles in 2010 for the Met, but doesn't the Met refrain from using personal microphones? I know that she was classically trained and has a wonderful opera voice, but will she really be able to fill the Met?
I don't see why she couldn't do it. She has a legit Masters degree in Opera Performance. She should absolutely be able to fill the Met. Updated On: 1/28/08 at 01:11 AM
you're kidding right? I've always had this image that when cheno reaches her upper range...it's like that scene in 101 Dalmations (the cartoon) where all the dogs start talking to each other in the city and eventually it just becomes a lot of barking....
her CANDIDE performance...wow...i had to replace a couple of antique pieces of Fenton glass on my sidebar.
I adore the black band holding on the Phantom's mask. ~ Jenna2
City Opera doesn't do it for their operas. But, if there is a musical going on there then they do it.
But, the theatre at the met is built in such a way that it isn't hard if you know how to sing the right way to get it to project.
The opera houses that don't mic are built for that in particular and thus have amazing acoustics.
"If you try to shag my husband while I am still alive, I will shove the art of motorcycle maintenance up your rancid little Cu**. That's a good dear"
Tom Stoppard's Rock N Roll
"City Opera doesn't do it for their operas. But, if there is a musical going on there then they do it."
Singers at City Opera do not wear body mikes, but for some years now City Opera has used microphones onstage for its operas. City Opera prefers to call it "enhancement" rather than miking, but it's miking.
I'm not the biggest Chenoweth fan but I would think she'll be audible at the Met without wearing a mike. The Met has good acoustics, and singers with smallish voices have been audible there (although there have been rumors that some of those singers were miked).
It may be that the Met has been using "enhancement" mikes for years. I've certainly heard those rumors. But I'm not sure I believe them. For one thing, I do think it would get out, that it would be more than occasional rumors. So many people work at the Met. It would get written about.
She did an interview once, many years ago (I think pre YAGMCB) where she talked about how it bothers her that "young" Broadway performers needed mikes. She said that if they had been properly trained then they wouldn't need mikes and because she had her masters she knew how to sing without technology to help. I think it's posted at the America Theatre Wing website
Oh, and I almost forgot to mention...I'm the good cop, he's the bad cop.
a few observations/clarifications, if you'll indulge an opera parvenu:
(1) the new york state theater has an "ehnancement system"; it's a modified version of a system installed in amsterdam to deal w/ atrocious vocal acoustics in a hall built for other purposes. the state theater was built for dance, not voice ... city opera actually had little choice. that said, the best way to think of the system is that it mikes the house, not the performers. (in point of fact, the enhancement system places more mikes in the pit than "on" the stage.) it is widely hoped that the pending enhancements to the facility will improve things.
(2) the metropolitan opera house of course has an amplification system, but it is an urban legend that the Met mike singers. never.
(3) opera singers are trained to sing differently than popular singers. (i'd attribute it to the diaphragm, but there's more to it than that.) this is why the old battleships used to just trod out, stand on their marks and belt them out -- and why the new generation finds the theater that directors and audiences increasingly demand so much work -- singing AND acting is damned physical! being classically trained, i suspect chenowith knows what she needs to do with her voice to reach the family circle.
thanks for indulging me ... the stuff about amplification at both NYCO and the Met comes up on this board every six months, and i hate seing city opera's predicament (i.e., a sh*tty hall for voice) miscast -- if they didnt HAVE to "enhance", they wouldnt!
Whatever2- thank you for a clear and expert explanation. The New York State Theater was built pretty much to Balanchine's specs, and designed for perfect ballet sight lines. It has more acoustic holes than Swiss cheese.