FRONT OF HOUSE
WHAT THE CHURCH CAN LEARN FROM OPERA | Kent Morris
My friend and fellow FOH guy, Jorge Corvea and 3. THEY HAVE A DIFFICULT TIME EXPRESSING WHAT went fine. Likewise, pastors need to understand
I are finishing up handling sound for the Atlanta THEY WANT. Here, the corollary to church tech work we should take every opportunity to confirm what
Opera’s production of Frida, the story of Mexican is identical. As the week of rehearsals progressed, we think is working is actually working in order to
artist Frida Kahlo. Jorge and I have learned several Jorge and I worked diligently to increase the prevent a serious failure during a service.
important lessons over the past two weeks here, operational level of the voices as they combine some applicable to the church at large. Hopefully, complex dialogue with singing that stretches from 5. COMPETENCE IS ASSUMED AND PROFESSIONAL
opera has learned a few things from us as well, whispers to extremely loud passages, all within COURTESY IS THE RULE OF THE DAY. From the
namely; opera performed in modern performance a few seconds. We wanted to stay away from moment we arrived on the stage, everyone
halls requires subtle, but serious reinforcement. dynamics control processing as it sounded artificial involved in the production took it for granted we
Opera as a practice does not use mics placed the first day. By the fourth rehearsal, we felt we had knew what we were doing. They didn’t test our
on performers and hall sound reinforcement, but achieved our goal and were pleased with the result. knowledge or ask us demeaning questions; they
modern room design dictates even the strongest However, the opera’s artistic director showed up simply worked beside us as equals. Too often in
voice needs a little assistance to be heard and that evening, made some changes and then took churches, leadership considers techs as “just
understood. We learned to navigate the opera us to task immediately for what he perceived as sound guys” when we are studied professionals
mindset without offending it and how to find what “boomy sound.” Our response was to take away from both genders. Even when the opera’s artistic
they really want in their sound. In return, opera gave some low-mid energy around 250Hz, but that director was clearly upset about the sound he
us some insight into how a troupe should conduct didn’t satisfy him, so we tried various things with termed “boomy” he did not deride us or raise his
itself and why mic 14 is as important as mic 1. no improvement in his opinion. A post-rehearsal voice. He simply wanted to know that we were
meeting with him revealed he thought too much going to resolve the issue quickly. How many
Here are the takeaways: of the room was evident sonically. We then had church leaders have ‘lost their cool” with techs
1. EVERYONE IN OPERA REFERS TO THEIR COWORKERS to explain his decision to move the head mics and humiliated them in services or staff meetings?
AS COLLEAGUES. There really isn’t a hierarchy within away from the face caused the change in tonality Church leaders can help their cause immensely by
the cast or crew. Whether it’s a union hand, a he detested. Once some basic physics were making professional courtesy the rule of the day.
lead actor or a house stage crew member, the explained, he understood and we were allowed to playing field is quite level. There is clear division move the mics closer to the mouth. Church leaders 6. LEARN TO SAVOR THE MOMENT. At the end of
of labor, but no constant concern over position or do the same thing: make a change based on their each opera performance, the audience is given
ulterior motives. It’s a rather honest, and refreshing opinion and authority and then hold techs and staff the opportunity to show appreciation for each
approach compared to the complex structure we accountable for what is a law of physics issue. cast member as well as the conductor, orchestra
and arranger. There is nothing wrong in a church
have put in place in our churches.
4. JUST BECAUSE IT SOUNDED GREAT LAST NIGHT IS NO service showing appreciation for the hard work the
2. THEY LOOK OUT FOR EACH OTHER. On the first day GUARANTEE IT WILL SOUND GOOD TONIGHT. After we staff has made to enable the day’s events. A round
of rehearsal, the lead, Catalina Cuervo, asked persuaded the artistic director to bring the entire of applause or a pat on the shoulder often means
us to bring the ensemble actors up in the flown cast on stage for a quick mic check prior to the more than money, especially when given in context
monitors. She said, “I hear myself well, but I sense first evening’s performance, we were able to dial of eternal value.
the ensemble is not at my same level. Bring them in each mic and had two great operas. The third up to match, please.” I would be hard pressed to night, however, no mic check was included on the While opera may not be everyone’s cup of tea, the
see some worship leaders doing the same thing: roster and the sound suffered. Even though we way it is conducted, handled and operated gives
asking for others to be as strong in the monitors had a union audio person placing the same mic us in the church some serious food for thought
as they are. It reminds me of Bob Denver, who in nearly the same place on the same actor, the on how we can improve who we are and how we
played the lead on the TV series, Gilligan’s Island. sound was different. During the intermission, the conduct ourselves.
When the producers simply referred to two of the artist director approached the tech booth and supporting actors in the first year opening theme wanted to know why the sound had changed. I song as, “and the rest”, Denver went to the mat explained the need to test mics each time and he to have the theme song changed to name their understood the reasoning and decreed a check characters just as his was named. prior to each performance. The rest of the shows
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November 2019
Kent Morris
Kent is a 40-year veteran of the AVL arena driven by
passion for excellence tempered by the knowledge
digital is a temporary state.
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