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Maestro Bryttan with performers at Lviv Philharmonic concert Internationally renowned Dale Morehouse is the stage director and his team of designers are from the studio of John Ezell at the University of Missouri in Kansas City. What these people bring with them is no-nonsense stage direction, professional and polite behavior at rehearsals, and an up-to-date Western approach to stage design, backdrops, and the like. Dale is especially great because he is an excellent baritone as well as a director. He is a singer who can talk to other singers, and he will blow their socks off! How did you get these people to come on board? Are they all doing this gratis? My best connections came through Gustavo Hailey, an old colleague from the University of Missouri in Kansas City. I invited him to Lviv many years ago to sing opera at concerts with me and also to have him audition students for his voice studio at the conservatory. When I started this project he helped put me in touch with people who are now part of a fantastic team. The work they are doing is not quite gratis, but they all agreed to do it for reduced fees because Gustavo vouched for me and because they are excited to direct and design for a professional theatre in Ukraine. What about the Ukrainian musicians and singers? How do they fit into this international group dynamic? Our designer told me they have superb painters. They also have several good translators, so commu nication is not a problem. Vocally, there is some very fine talent. Unfortunately, the style of singing technique of Solomiya Krushelnytska has pretty much disappeared, and many young Ukrainian vocalists almost despair of finding a good voice teacher these days. Dale will help a great deal here! What is the timeframe from creative idea to opening night and what kind of audience will be attending the premiere? Puccini sets and costumes, soloists and orchestra, and everything will be prepared in less than three months. Attendance at concerts is down among Ukrainian audiences and those that come aren't always easy to engage. I have often sat in the balcony and seen rows of cell-phones glowing in the audience all night. Going to the opera has become a casual experience; there is a lot of talking, even some necking, and other strange behavior. Also, the theater is pretty run down even though it was the last Soviet theater to be built in Ukraine. How are you going to compete with the cell phones and the other activities? How are you going to take your audience out of that dingy building into the world Puccini created? What we plan to create for this sometimes difficult audience is gripping, total theater—not just a se quence of songs in verses no one understands. First of all, I asked the designers to pull out all the stops Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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