By Sam Kerns
When it comes to opera, accessibility is essential. Impactful programming extends well beyond the doors of concert halls, and flourishes inside libraries, schools, and community spaces. Embracing these principles is what determines the success of any artistic institution—so it’s comes as no surprise the Cincinnati Opera celebrates its 100th anniversary this summer. The company also excels in its ability to adapt. Whether it’s rain delays for Back to the Zoo or Opera in the Park, renovations at Music Hall, or a global health crisis, Cincinnati Opera prevails.
As the company transforms its centennial season to reflect public health measures, we’re seeing how adaptability and accessibility merge as one. Across multiple platforms the Opera remains committed to empowering all, despite our physical distance. In Cincinnati, opera becomes the community and the community becomes opera.
Barrie Kosky
Most recently, I attended a remote program with renowned stage director Barrie Kosky. You may know Mr. Kosky best by his animated rendition of The Magic Flute, which delighted Cincinnati audiences in the summer of 2017. This year the acclaimed artist made his return to the Opera, but in a completely different way: The Zoom call. He phoned from his home in Berlin, where the local time was 11:00 p.m. (his love for opera transcends time zones) to discuss with us his Komische Oper Berlin production of Eugene Onegin. (watch the full stream here). Our conversation began with an overview of Kosky’s career and his aesthetic as a director. His style cannot be defined easily, for he approaches every project with a unique conceptual and critical eye. Perhaps Kosky’s directorial trademark is versatility; a variable guaranteeing not only creativity, but credibility when it comes to interpreting the classics.
Photo: Barrie Kosky’s production of Eugene Onegin. Komische Oper Berlin.
The group then explored themes found within Russian literature and poetry and their influences on scenery, costumes, and lighting of Eugene Onegin. Mr. Kosky was more than willing to share behind-the-scenes elements of the opulent design, from theatrical rainfall to singers spooning jam into jars. I felt enlightened and uplifted as both an opera enthusiast and an aspiring stage director.
This call with Mr. Kosky proves opera is about conversation. Staff, board members, and supporters from all over the world joined together to share their love for a timeless art form. It’s a reminder that no matter what comes our way, these conversations will continue into the next 100 years and beyond.
Sam Kerns is a graduate of Cincinnati’s School for Creative and Performing Arts. He spent four summers with Cincinnati Opera as a trainee, intern, and supernumerary. Sam currently attends The Theatre School at DePaul University, where he is pursuing a BFA in directing.
Sam Kerns