Historic opera debuts

Most operas have plots that seem larger than life -- more comedic or more tragic than reality could ever be. With the IU Opera Theater's newest production, the drama may be larger than life, but it is grounded in a true story.\n"The Ballad of Baby Doe" by American composer Douglas Moore premiered in 1956 in Central City, Colo., near where the story actually took place.\nThe plot revolves around "Silver King" Horace Tabor, who went from rags to riches overnight in 1878, when he struck silver in Leadville, Colo. His wife, Augusta, had a hard time adjusting to her husband's excessive wealth. \nThe IU Opera Theater is making a particular effort with this brand-new production, and the show has a local history in Bloomington.\nAt the premiere, the part of Augusta was played by Martha Lipton, who would later become faculty of the IU School of Music. Now in her 90s, Lipton is working with the two young women who will play Augusta in this performance.\nLipton focused more on the creation of character than the vocal aspects of the role in her meetings with the singers.\n"We talked more about deportment than vocal aspects," Nilsson said. "Augusta is such a strong character -- she has to look strong in the way she walks, the way she stands and the way she interacts."\nMichael Ehrman, guest stage conductor, has also helped the actors get inside of their characters.\n"He gives us motivation for every movement," Nilsson said. "He doesn't give just the top layer of what we were saying but everything that goes on underneath. He's been a joy to work with."\nThe vocalists are not the only ones receiving special attention. The scenery is a completely new design, created by IU Professor C. David Higgins.\n"Designing a new show is a long and involved process," Higgins said. "We started about a year out in advance of the opera."\nGiven the historical basis for the opera, the set had a certain obligation to follow.\n"I'm usually accused of doing Walt Disney-like sets," Higgins said. "But I tried to capture a sense of the period without it being cartoony. Many of the sets are of places that actually exist, but there is a certain amount of theatricalism for the opera."\nTim Stebbins, head of the paint department at the MAC, said he was excited about the opera because of its familiarity.\n"The nice thing about doing 'Baby Doe' is that it's an American piece," Stebbins said. "So we all feel a little more familiar with the architecture and the feel of the show."\nConductor David Effron also felt he had a personal connection to the production.\n"I did 'Baby Doe' in Colorado back in the 70s," Effron said. "When I was there, I went to Leadville and saw all the sights where it took place. It makes it closer to you when you can visit."\nEffron has been working with the University Orchestra for this production.\n"We had had an unspoken policy not to let this mostly-freshmen orchestra do operas," Effron said, "But I thought if we found the right vehicle for them, it would be a really valuable experience."\n-- Contact staff writer Claire Blaustein at cblauste@indiana.edu.