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“It’s another world now for us, for all the musicians, the singers. When there is no other energy, it’s different. There, it’s just the party”, confides Ruzan Mantashyan, soloist.
The project goes well beyond making a two-hour recording. Making an opera film requires shooting, and a bond must be established between the director and the director. “It’s the dialogue. That’s always the important thing. We have to talk to each other and explain what we tried to do on stage and see what the director can bring”, testifies Nicola Raab, director of the opera “Rusalka”.
A point of view shared by Arnaud Lalanne, director at Oxymore productions. It is he who directs the adaptation of “Rusalka” into an opera film. “Me, I do my best to respect her staging. Sometimes the technique, the logistics, the location of the cameras mean that we have to make small compromises. She has the intelligence to let go at the end. At 95, 99%, we have to be at the service of the show “.
With the health crisis, screen opera is a booming market. “There is a real demand”, slides Alain Mercier, artistic director of the Limoges opera house.
Source site www.francetvinfo.fr