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May 18, 2006


Allen Heinemann

I share Brian Dickie's sentiments. I was forced to listen much harder, and glad that I had done my homemwork in advance of opening night. The audience is allowed to become a bit careless in its preparation with the availability of titles. While all of the artists were in fine voice, and I am awed by Kathleen Kim's range, articulation, and energy, higher range notes and words are harder to discern.

Karen Titus

I was only mildly disappointed by the lack of supertitles, mostly because I needed them to understand what was happening at the very end. But mostly it was a pleasure to look to the music, the acting, the staging, the lighting--everything that makes opera opera--and not at the titles. All are so rich in "clues" that it wasn't all that hard to follow the opera, even for one who hadn't done her homework.

Veronica Wallace

I agree that supertitles are a curse and a blessing. You failed to mention that occasionally, in an English language opera, a singer will repeatedly sing words that are not in the script!

Mary Dibbern

The use of supertitles can be justified in part by the fact that, historically, operas were always sung in the language of the country of performance. Bizet did not expect a Fench version of Carmen to be sung in any other country in Europe. Instead, singing translations were always prepared, and I think this lasted until WW II. I prefer to have the supertitles projected instead of singing opera in translation. The beauty of the sung language is part of the composer's let's keep the supertitles and stop trying to sing Carmen in English! It is hard to believe this is still done after all of the wonderful French diction study that is available to today's singers!

Fran Garber

Regina Opera Company, in Brooklyn NY, is considering setting up a supertitle system.

Please let me know if you know of a company which sells equipment for this, and price ranges.

We expect 300 people at a performance.

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