Lectrosonics Revolutionizes Opera Productions

By AVNetwork Staff( AV Network )

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(Image credit: Lectrosonics)

Prepare to dispel any notions of traditional operatic conventions, as the Santa Fe Opera emerges as a trailblazing force in the realm of lyrical artistry. Within the unconventional setting of the open-air Crosby Theatre, the company orchestrates its productions, each of which defies the norm. Leading this charge is their latest creation, a groundbreaking rendition of Orfeo. Directed by Yuval Sharon and featuring music by Claudio Monteverdi accompanied by a world premiere orchestration from Nico Muhly, this production offers an innovative reinterpretation of one of the earliest-known operatic works. Yet, the innovation extends far beyond the artistic vision, as wireless technology takes center stage to bring this auditory marvel to life.

Daringly departing from the confines of conventional operatic acoustics, the visionary choices made for Orfeo demanded an up-close and intimate capture of individual voices for sophisticated processing. Standard area microphones were deemed inadequate for isolating each distinct voice amidst both its counterparts and ambient sounds. Thus, sound designer Mark Grey made an astute selection: Lectrosonics wireless systems. This choice was solidified by Grey's prior positive experiences with Lectrosonics, having employed their wireless systems for contemporary American productions such as Doctor Atomic by John Adams and The Lord of Cries by John Corigliano, both presented by the Santa Fe Opera.

In crafting Orfeo's sonic landscape, the transformation of Act II into the abyss of Hades demanded a radical shift in sound dynamics. Grey meticulously experimented with effects, integrating spatial reverberation from the surround sound system and orchestrating key roles to resonate from offstage. A bespoke surround setup, augmented by an additional ten loudspeakers to the main PA array, was constructed to grant ethereal vocal reverberations a three-dimensional quality. This intricate auditory mosaic is facilitated by fourteen channels of Lectrosonics, with thirteen allocated to onstage and occasionally offstage characters. The fourteenth channel is exclusively reserved for an offstage character, complemented by wired microphones positioned backstage, expertly utilizing DPA 4061 microphones tethered to SSM belt packs.

The Santa Fe Opera transcends operatic boundaries, molding tradition and innovation into a harmonious convergence that echoes through the enchanting acoustics of the Crosby Theatre.

(Image credit: Lectrosonics)

"There’s a lot of wind," commented the opera's audio engineer, Abbey Nettleton. "The theater is pretty well protected because it has wind baffles on one side, but when the [back of stage] doors are open, we’re battling the sounds of outside.”

Reliability and durability take center stage in this production, and Lectrosonics perfectly fits the bill. “The Lectrosonics products are like little tanks," noted audiovisual director Cooper Adams. "I’ve always been extremely impressed with the quality of the products. Lectrosonics also offers silicone jackets for the transmitters, which are important because in this production at one point the characters are in a mist, essentially enveloped in rain onstage.”

Adams also favors the SSM transmitters due to their incredibly compact size, noting that "SSMs could be discreetly placed anywhere, and they prove excellent compatibility with a wide array of microphones." While their primary use is for sound effects, he elaborated, "we're also outfitting certain performers with acrobatic harnesses, and we wanted to provide them with optimal support."

Adams continues to hold Wireless Designer software from Lectrosonics in high regard. "Fortunately, RF challenges are not a major concern for us here, but the Wireless Designer software is invaluable for scanning potential issues."

Mark Grey envisions wireless microphone technology, like the Lectrosonics systems employed by the Santa Fe Opera, gaining ground in the opera domain. "While we often associate opera with traditional theaters like La Scala, an increasing number of outdoor operas are taking place. Consider the Bregenz Festival in Austria, featuring operatic performances on a grand lakefront stage. These productions construct sets towering 15 stories high, all set in open air, accommodating around 12,000 attendees. Their advanced sound departments are a testament to the growing importance of this technology, ultimately revolving around enhancing the audience's immersive experience."

Source: AV Network - How Lectrosonics Helps Re-Imagines Opera Productions