Our 20th Connection & Reflection brings us memories from BCS soprano Kathy Powell, who describes her experience performing in the IU School of Music summer opera productions in the 1960s.
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Not for the Faint-Hearted
When I attended IU in the 1960s, Vietnam was heating up and all my male friends were concerned about getting into the bands or orchestras of the Army, Navy, Air Force, or Marines. Graduating in 1967–69 was a crap shoot because they were going to be drafted. It was a different time.
In the 1960s, the IU School of Music’s Summer School was not for the faint-hearted. All students were in ensembles, and in the summer that meant outdoor opera in the old football stadium, located in the center of campus where the Arboretum is now. A large stage was built in the east end zone of the stadium, and the audience sat in the bleachers. The orchestra sat on the turf in the end zone. Many in the orchestra rented school instruments—especially the strings and woodwinds—to protect their own instruments from the elements. Those of you who have been involved in Fourth of July Pops concerts can imagine singing or playing outside in July. We had rehearsal every afternoon, and Opera Dress Rehearsal Week meant extra rehearsals because lights had to be set when it was dark.
We performed Carmen with riders and horses galloping around the track between the audience and the orchestra. During one performance, Don José bounced his beer mug off the stage and into the cello section.
The next summer we did Mefistofele by Arrigo Boito. That was memorable because rather than descending to hell, the “dummy characters” (soft replicas, dressed as the singers) were lifted into the sky on a black-draped cherry picker that the opera had rented. When the lights were cut, they disappeared. It was a pretty cool effect.
The last opera I did outdoors was Mussorgsky's Boris Godunov. In the ’60s, faculty or visiting professors sang the major roles. Dr. Ralph Appleman sang the role of Boris and was simply great! His death scene was spectacular: he fell face-forward off his throne and down quite a few steps. He managed to do it every night, and the audience gasped every time. He was very heavily padded.
It was a tremendous learning experience to be on stage with our voice professors, watching them work through a role. All our operas were translated into English during this time to make them more audience friendly. It must have worked, because we had people travel to the performances from many states. The slogan was, “Opera Every Saturday Night at IU.”
I’m sure Ted Jones, a founding member of BCS who was working in opera production during this time, has some wonderful, hair-raising stories about this period at IUSOM.
Musical Offering
This scene from Boris Godunov comes the closest to what I remember, without the humidity, insects, etc. We peasants were a primary part of the staging by Ross Allen and I think we sang Slava! instead of Glory!, but I could be mistaken. I couldn’t find a good death scene, and unfortunately, I don’t think they were filming summer operas back then. Boris Godunov was reprised that fall semester.
