DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 3: THE STAGE
7. Opera
high degree of diffusion is desirable. The ceil-
Musical drama is the middle ground between
ing over the stage, or suspended reflectors,
operatic recital and grand opera, since it makes
should be within 20 feet and no walls parallel.
more or less equal use of song, speech, music,
Occasionally, a false or open work proscenium
dance and scenic elements. Operatic recital em-
is used to support and screen lighting and au-
phasizes music and song over action and sce-
dio equipment.
nery, and grand opera may be considered song,
Scene/Working Space: No scenery is involved,
music and spectacle. The storyline is often well-
unless the Room has secondary uses. Piano,
known and diminishes in importance compared
risers and chairs are stored adjoining the
to musical execution. Traditionally lavish cos-
stage. There should be a lounge to which mu-
tumery and settings are involved along with a
sicians may retire, and dimmers for house and
large cast of singers and musicians supporting
stage lights.
lead soloists. Opera recital may involve two or
more small groups on a stage similar to that for
6. Choral
musical drama or smaller, with minimal scenic
Basically a musical medium, group singing can
devices and dance activity. Grand opera involves
have some of the characteristics of dramatic
a great deal of background movement, multiple
speech depending on the literature presented.
entry points, stagecraft, special effects, and
Intelligibility is more important for secular works
scene changes.
in terms of lyric continuity than for liturgical and
choral-symphonic combinations. Choral require-
Performance Space: Wider and deeper than
ments fall somewhere between those of a large
others, it is typically 75' x 55' d. Traps, mul-
recital hall and medium-sized orchestral facility,
tilevel constructions, stage elevators and lifts
depending also on the number of voices.
are used extensively. The great depth and
width of stage is not merely a tradition, nor
Performance Space: A rather close packing of
the requirement of elephants, camels and
singers is desirable in most cases to facilitate
chariots. Dramatic part-singing demands a
their mutual hearing and visual contact. In-
great deal of movement on stage, reassem-
struments and music stands are not involved.
bling of voices, and accommodation of a large
Singers may be seated for long or intermittent
chorus. Since it is difficult to sing while mov-
performance, or may stand throughout. Be-
ing, the cast moves to new relationships with
tween 5 and 9 square feet of stage area is
the soloists.
needed per singer. Additional area should be
Enclosure: The opera proscenium is typically
allowed for piano or instrumental accompan-
65-80' wide and 40-50' high. This promotes
iment. Portable adjustable risers in 8 inch in-
acoustic coupling of the deep stage to the
crements are a definite advantage over fixed
house and recognizes the probable height of
risers. The floor area is normally twice as wide
a multi-tiered audience requiring good sight-
as deep.
lines. The enormity of stage and stagehouse
Enclosure: Recital or orchestral considerations
places premium value on trained, powerful
are similar, although a shaped enclosure or
voices and drama tic presence.
shell is more likely to prove successful in larger
Scene/Working Space: Opera stages are often
Rooms. The human voice is relatively direc-
the most technically sophisticated, the scenery
tional but not as powerful as many instru-
vast and expensive because of its importance
ments until carefully trained, and rarely for
to performance. A person on an empty opera
sustained periods. The enclosures' function to
stage is dwarfed. He must move from prop to
blend, balance and contain sound energy is
carefully selected prop, in order to maintain
important.
continuity of scale. Grand opera requires sub-
Scene/Working Space: Similar considerations
stantial scene space and offstage working
pertain to recital, although offstage assembly
space on all sides. A large, fully equipped fly-
space must be larger and is best with entries
loft, or a combination with scene elevators
provided from both sides of the performance
from below stage, is also needed. The flyloft
area. For orchestral accompaniment a pit is
must furnish generous flexible lighting points
desirable, and actually necessary for large
behind the proscenium and above stage, often
scale events. The alternative is a very large
including sidelighting towers in the wings.
open stage arrangement.
An orchestra pit is essential to grand opera.
The pit locates musicians properly relative to
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