Collaborative Opera Project?

Hehehe, I'm surprised that this is still alive, I saw that it started early last year. I want in. I can write music, I can orchestrate written music, I can set lyrics to music, and I may be able to come up with a dialogue if I have a scene synopsis. I'llgo through all the pages of this to see what has happened...

Welcome to the crew.

I can help with whoever wants to be in charge of libretto writing, like I don't want to be the leader, I'm better behind the man.

Hehehe, I'm surprised that this is still alive, I saw that it started early last year. I want in. I can write music, I can orchestrate written music, I can set lyrics to music, and I may be able to come up with a dialogue if I have a scene synopsis. I'llgo through all the pages of this to see what has happened...

Interesting concept... do we WANT an orchestrator? Or, do we want the composer to work with the given orchestration (which, we will settle on when we at LEAST figure who's playing what, how long the piece will be... etc.)

IMHO, we should go with a chamber orchestra. I have a feeling for the first go-around, this opera won't last more than an hour to hour-half at MOST (and that's pushing it). So... a smaller orchestra will suffice. PLUS, we could basically for our first recording, have somebody with the equipment sequence the orchestra, right?

Sounds good, Vernon. ;)

Great idea with the chamber orchestra. If we do get this opera performed, it will probably be performed by a relatively small group of people (as operas go), so we should try to accommodate that.

I do have to say, however, that I've never written for a chamber orchestra; most of my experience is in writing for the standard orchestra. Can you direct me to some good information on writing for a chamber orchestra?

Hmmm... Given the size of the team and the way we correspond, I think using an orchestrator would complicate things a bit. I don't know, though; we can try it and see how it works out. Wonderful things might happen. :D

Well a chamber orchestra usually constitutes: 1 flute,2 oboe,2 Clarinet,2 Bassoon,2Horns,2 Trumpets,Possibly a Trombone, or a Tuba, if you're lucky, Timpani, strings (in a smaller number of course. you'll be lucky if you can get doubles of the woodwinds. (piano is usually included)

I've been told I'm a good Orchestrator....but that's an opinion

String wise you could probably get away with 6,6,5 (violas tend to get alot of divisi,and the fifth player can be used (top/bottom) depending on balance),4,2

Thanks.

Ok.. so what we DO need to know is that ALL of the composers on the team CAN WRITE for orchestra. We all need to read up on specifics of a chamber orchestra.

I can write for orchestra fairly well. That's my favorite canvas. I'll keep looking out for anything. There really aren't any specifics, it's all up to the composer, chamber usually just refers to a smaller number of people usually without a conductor, the first chair violinist will be the one in charge.

Though we can all write likely write at some level of ability for orchestra, I think that we should write it as a piano score at first. Do you guys agree?

I agree, that helps sometimes.

Sounds like a good idea to me to write a score for piano and voices at first. It would help us to write the opera faster without having to orchestrate a great deal, and it would make it more likely for us to get this opera finished.

What do the rest of you think?

As well as being an orchestrator, I can help you all by actually getting the piece performed. I have an ensemble entirely at my disposal the size of the New York Philharmonic. I can pick and choose smaller numbers of players if you'd rather do chamber music, but I could at least have them play it and make you guys some tracks.

Suggestion. Start with piano and vocals. Rewrite the piano in the strings. Add woodwinds. Add brass last. I've written several operas and had several works performed by my orchestra.

I would be glad as always to oblige my friends and neighbors.

I would say that this is a long ways away, but I'd give you some time in the fall or next spring, maybe.

PM me if you want to set something up, Dan Gilbert.

I'll start working on preparing my musicians for opera music, LOL.

Great plot, and good work on the discussion.

You guys need to stop talking and seriously get this underway.

"I would be glad as always to oblige my friends and neighbors."

Is that a Sweeney Todd quote? Or, did you just say that?

And, for my on topic comment... piano and vocals is perfectly fine. We can orchestrate later. And, I think we HAVE started... we are just waiting for the first scene.

Is that a Sweeney Todd quote? Or, did you just say that?QUOTE]

I said it, realized it was a quote and decided to just go ahead and post it regardless. LOL

I was just trying to say that I have had several works from composition forums performed and I would love to produce a recording of this collaborated masterwork when it's all finished. No rush. I'll still be here next year.

Thanks a lot for the suggestions and offering to help us get the piece performed, MaestroMarvel; I'm now thoroughly convinced that we should write the opera at first for voices and piano and orchestrate it later.

I'm going to start working on the first scene. I picture the main character singing a dramatic, melancholical aria inside his house accompanied later by the many pictures inside his house. I'll sketch out a bit tonight and let you guys take a look, if not tonight, next morning. You guys can add your suggestions and edit it if you like. I'll upload it in MusicXML format, so hopefully it will help us bridge the gap between Sibelius and Finale. I'll upload a .pdf and .mp3 too.

This is a minor detail, but should I use choral order, where the voices are above the piano, or orchestral order, where the piano is above the voices? You guys are going to have to read the score, so you should choose how it should be arranged.

This is a minor detail, but should I use choral order, where the voices are above the piano, or orchestral order, where the piano is above the voices? You guys are going to have to read the score, so you should choose how it should be arranged.

For a piano/vocal score, the vocals usually go on top of the piano. It's more like vocal with accompaniment.

Whew I haven't posted here in a while.

I won't be able to help out, but I remember really wanting to do a couple operatic pieces. So once a libretto is up, and if it's alright with the writer, I'd like to do a little musical experimentation with some parts of it (all credit given where it is due of course). Just some standalone stuff. If I get anything up to where I like it before I leave for Brazil I'll put it up for comments.

Good luck!

Whew I haven't posted here in a while.

I won't be able to help out, but I remember really wanting to do a couple operatic pieces. So once a libretto is up, and if it's alright with the writer, I'd like to do a little musical experimentation with some parts of it (all credit given where it is due of course). Just some standalone stuff. If I get anything up to where I like it before I leave for Brazil I'll put it up for comments.

Good luck!

That shouldn't be a problem.

That's logical; I'll rearrange the score that way.

The following I find a good reference to remind one of the vocal ranges of various voices.

The only problem is that tenor, when not sharing a staff with the basses such as in hymn music, is usually written on the treble clef an octave below what is written, so I have to do a little thinking to use this. It's still useful, though.

Below is what I have done so far on my sketch of the first aria; it's just a sketch, so please look at the score (it's uploaded in MusicXML format, so it should be compatible with both Finale and Sibelius, but tell me if there are any problems) and edit it if you like. Also, comment and tell me what you love, what you hate, and what you think is okay. It's just a rough sketch at this point, so it is easiest to edit at this point. The sketch isn't quite done, but I think I've gotten to the point where the portraits will begin to join in the song. An .mp3 is here.

Edit: I almost forgot; I need some words (I know, lyrics ;)) for this too. I'm no poet, so it would be helpful if you guys could come up with some words.

yc_opera.xml

Patience, everybody!! An opera is NOT something that can be written in a couple of days, it takes time! I have written about half of the first scene's libretto, and written one main theme for inclusion in the orchestral Introduction.

I haven't been part of the discussion lately, so I'd like to weigh in on what the instrumentation should be. I envision a large orchestra for this, but as long as there is a decent string count, chamber should be fine. I'd like the orchestration to echo the idea of Flint's character - very layered, very deep and dark. So cutting some woodwinds out (maybe 2.1.2.1) seems appropriate. But brass should be rather full, as the character is incredibly angry at parts and needs some power behind him. I'm thinking 4.2.2.1 for brass. Then harp, possibly piano, timp/perc., and strings. It's not a chamber orchestra, but it's not large. Is this pretty much what people had in mind?

Ok, here is what I have of the libretto so far (attached as txt). I know it's not perfect. I would like comments please, constructive criticism, etc. Anything really! Also, here is a theme I wrote for the opening: dark theme

Libretto.txt