Whenever director Nic Muni is in town, I always try to spend time with him. Perhaps more than anyone else I know, he has fascinating and thought-provoking views on the state of opera as an art form, and opinions as to what can make it more interesting for singers and audiences alike. On top of that, he is a really bright guy and extremely articulate, so an opportunity to chat with him is one that should never be passed up. With that in mind, I managed to sit and talk with him last Friday and I thought you would be interested to know a little of what we spoke about. I think that those of you who have already seen the current Portland Opera production will see what Nic is getting at, and I hope that those of you who have not yet seen it, or are undecided as to whether to attend one of the two performances remaining (on Thursday and Saturday evening this week) will go to the Newmark Theater for something of a unique, stimulating and moving opera experience.

Operaman: Good morning, Nic, and thank you for taking the time to chat with me, when I know you must be hugely busy! So, let's get to it and let me ask you right away – when Chris Mattaliano first called you and asked you to direct a programme consisting of two operas written in the early 1600’s and a quasi-opera/musical written in the early 1950’s what was your initial reaction?

Nic Muni: After I got over the initial surprise, I have to say the first thought to cross my mind was “How unusual and refreshing!” It is an unusual request, obviously. And refreshing because I was not being faced with directing another Bohème or Traviata or Aida. Now, don’t get me wrong; I love many works in the standard repertoire, including those three, but to have the opportunity to do something completely different really gets the creative juices flowing in a stimulating way. I believe this is also the case for the audience. Many people are content to be fed a steady diet of Puccini, Verdi and Mozart, and, as an impressario you have to programme these works on a regular basis or you would almost certainly see a shrinking of your subscription base. However, one’s appreciation of the works by these composers increases if you have knowledge of a wider range of operas with which to compare them, and a broader frame of reference within which to view the standard operatic canon. I know this is an aspect important to Chris Mattaliano when he comes to programme a season and I applaud him for it.

Operaman: Have you ever directed any of these particular operas in the past?

Nic Muni: No, I have not. I do have something of a history with Trouble in Tahiti as I have sung the role of Sam (that was when I was a conservatory student) and I have designed a production of it but this is the first time I have directed a production of this work. I am, naturally, very familiar with the works of Monteverdi and I have directed Poppea twice. Monteverdi is of course of huge importance in opera but while not forgetting his historical influence we should never lose a sight of the fact that he wrote very powerful and beautiful music. Additionally, in the two operas we are presenting now, Il Ballo delle Ingrate and Il Combattimento di Tancredi e Clarinda, deal with subjects - love, confusion, ambiguity - which are as relevant to our way of being today as they were 400 years ago when they were written.

Operaman: Given that these three operas do not, on the face of it, have much which would naturally tie them together, what are you doing in this production to help the audience make sense of this as a musical and dramatic tryptich?

Nic Muni: There are a number of things which I believe will help the audience. With the exception of a few scenic pieces which are moved in and out, the set for all three operas is the same, and while, of course, it serves different purposes in each opera, I think it lends to a sense of continuity. Similarly, the costumes basically have a 1950’s look. In the case of Trouble in Tahiti, that reflects the period in which it was written. In respect to the Monteverdi operas, while there are some aspects of the costume which are not contemporary, neither is the look strictly 17^th century. This helps to prevent the transition between the operas being what I call ‘choppy’.

Operaman: Some people come to an opera performance to be entertained and some to be challenged. Which of these goals do you seek to accomplish in this production?

Nic Muni: I think what you are asking is “Should opera be art or entertainment?” and to be honest, I think that whole discussion is something of a red herring. It seems to me that too much time and energy is expended questioning, for instance, whether a production is ‘traditional’ or ‘avant - garde’ rather than the more important question: “Is it good?” And by “good” I mean, is it stimulating and exciting? That basic question tends to be all-too frequently overlooked and is, surely, what we really should asking ourselves. Rather than being overly concerned as to whether a particular opera or production is art or entertainment, I think it is the duty of the director simply to do it as well as he can, with honesty and integrity. The intent should always be to produce something that provokes the emotions as well as the mind and finds a way to the heart.

Operaman: That last comment, Nic, is something you and I have discussed in the past - about how Opera is a visceral art form that gets us at a gut level. This current production is being performed at the Newmark Theater, a much smaller house than the Keller Auditorium, where most of our productions are staged. Do you like being in a more intimate space, and how does it affect our experience of the works?

Nic Muni: I love having the opportunity to work in this space! We tend to forget that where we perform does, indeed, affect the art. Because most opera houses or auditoria are large and cavernous it is convenient for us to think otherwise, but the truth is that most venues used for opera today are quite unsuitable and, incidentally, quite different from the houses for which the works were originally intended. They are unsuitable because of the very issue you mention: that of opera promoting a visceral response. At a basic level, sound waves vibrate into your system; energy dissipates over distance so the further you are away from the energy source, the less impact those vibrations will have. The corollary is that the smaller the space in which you watch an opera performance, the greater will be the sheer physical impact of the music and the more visceral the experience will be. And the distance between the audience and the action on stage affects not only the effect of the physical energy of the music but also the kinesthetic energy and our relationship to shapes and colors, all of which lessen over distance. We would do well to remember that Don Giovanni premiered in a 600-seat house. Even Aida, which we think of as a monumental work was first performed in a 1200-seat house. The bottom line is that opera hits you harder in a small space. Unfortunately, opera companies these days cannot afford the luxury of a small, purpose-built space in which to work.

Operaman: This production opens tonight. How are you feeling about it?

Nic Muni: I know I have done everything I can to make this an emotional and thought-provoking experience. What I do not know at this moment is whether it will work. You can be as prepared as humanly possible, but only at that magic moment when you present your work to the audience do you get to find out if your efforts have been successful. I shall have a somewhat clearer picture after tonight as to whether I have got this right.

Operaman: Toi! Toi! Toi!, Nic.

Nic Muni: Thank you, Operaman!

Do come back here on Thursday, gentle readers, 'cos I shall have other news for you. In the meantime, have a happy and productive week.