There’s no other opera in which two women sit on the stage together and have so many scenes as Ginny and Rose do in this opera. And I think we’ve carried that element through - that somehow the destruction of the land is tied to the destruction of the family … We get these echoes of Lear, but then we go somewhere else entirely. “Something that Jane does in the book that I think we’ve brought out in the opera is the connection psychologically between the landscape and the characters … Obviously in Lear, the storm on the heath is about his psychology as much as it is about the collapse of nature. Elise Quagliata as Ginny in DMMO’s ‘A Thousand Acres’ - photo by Kyle Starcevich McIntyre is pleased with the ways in which the opera brings out the connection to Lear, but also delighted that the opera pushes the artform forward in important ways. And it means that as the director I had a lot of information going in when we started actually physically designing the opera in terms of what we would need and how we might move from place to place, and we have orchestra interludes between the scenes, so how we might use those, and all of that.” “And then I would put my director hat on and advocate for certain things that I wanted or talk with Mark about logistics … I think it made for a very holistic process in that sense. “Having me be both dramaturg and director means I was involved in the decisions about scenes from the book to put in the opera,” McIntyre explained.
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