Central City Opera celebrates 80th season

Shortly after Richard H. Gregory staked his first mining claim in 1859 Central City, Colorado became known as “The richest square mile on earth.” The Gold Rush at that time was for genuine ore – now the rush to Central City is for music. To quote Rodgers and Hammerstein, “the hills are alive with the sound of” it. (Sorry!)

Central City Opera is in it’s 80th season, and gloriously intimate opera house was graciously refurbished a couple of seasons ago with comfortable, truly luxurious seating. Traditional and progressive works are featured annually in this six-week summer festival of approximately 40 performances. Out Front Colorado is thrilled to have been honored with an interview with Central City Opera’s General/Artistic Director Pelham (Pat) Pearce.

Can you tell me why Rodgers and Hammerstein’s Oklahoma! figures into the season?

There is a trend nationally to include one offering from the canon of The American Musical Theatre – from the Golden Age of musicals including the works of Rodgers and Hammerstein, Lerner and Lowe, Jerome Kern and Leonard Bernstein. Musicals from that era have such a broad appeal.

In the golden age Broadway was a much different place than it is today. People could really sing – they sang over a full orchestra. At that time there was not too much of a separation between Broadway and The Metropolitan Opera. And of course now such musicals as Les Mis and Phantom are peopled with opera singers. So we’re ready. We have the singers, the actors, the techies and the orchestra.

What can you tell the readership at OFC about the production of The Turn of The Screw?

Since it’s the centenary of Benjamin Britten’s birth, Central City Opera included Britten’s The Turn of the Screw. We will be seeing this Edwardian house through the mind of the Governess. There will be a lot of questions left unanswered; is this happening in the mind of the Governess or is it really happening? So this production will be a sort of visual abstraction. This composer was really good at creating atmosphere – an eerie unease for this ghost story. He’s also really good at setting the English. This sound world created by Benjamin Britten will make us all feel uncomfortable. Just think of John Williams’ success with his opening bars of the theme for Jaws.

Is this year’s production of La Boheme a revival of the production staged at Central City a few years back?

Puccini’s La Boheme will be a completely new production set in the 1930’s. It’s not your granddaddy’s Boheme. In this director’s vision, by Kevin Newberry, the set is created and deconstructed by the characters. It’s a very different look for the opera, not time or space specific. It’s timeless and minimalistic. A sign sticking out of the snow indicates Café Momus. Café lights drop in, but that’s about all. This actor-driven production is supremely actor-focused and does not rely on visual frills.

Can you tell the readers what’s best regarding getting parked and finding something to eat before the opera?  

As far as getting a bite to eat before the opera there is still Kevin Taylor’s magnificent menu at The Teller House. For those looking for lighter fare there will be food carts like those on the boulevards of Paris serving elegant sandwiches and crepes. Parking is available at the opera parking lot. There’s free parking at Century Casino as well.