Insights on Opera Collaboration and Creation

The video explores the speaker's unexpected journey into writing an opera libretto, highlighting the collaborative process with composer Paul Morvi. It delves into the roles of critics and directors in theater, emphasizing the importance of the composer in opera creation. The speaker shares insights on the dynamics between librettist and composer, stressing the need for harmony and understanding in creative partnerships.

What is the speaker's view on the nature of opera?

• Opera is only about music.

• Opera is a medium that tries to embrace everything.

• Opera is not exciting.

• Opera is a simple art form.

How did the speaker end up writing an opera libretto?

• His friend Paul Morvi suggested it during a lunch.

• He was always interested in writing librettos.

• He was commissioned by the Santa Fe Opera directly.

• He was a composer himself.

What was the outcome of the collaboration between the speaker and Paul Morvi?

• It became the most successful commissioned opera in Santa Fe Opera's history.

• They decided not to work together again.

• The opera was not well-received.

• They only wrote one opera together.

What did the speaker learn from his experience of writing a libretto?

• He realized he was not a creative artist.

• He gained insights into what works on stage.

• He learned nothing new.

• He found it boring.

What does the speaker say about the role of a director in theater?

• The director's work is similar to a conductor's.

• The director is not important.

• The director's role is the most invisible part of theatrical art.

• The director's work is very visible.

What is the most important thing to remember in an opera collaboration according to the speaker?

• The audience's opinion is secondary.

• The director should lead the process.

• The librettist is the senior partner.

• The composer is the senior partner.

What is the speaker's advice for librettists in opera collaborations?

• They should try to lead the creative process.

• They should focus on their words more than the music.

• They should enable the composer to write great music.

• They should not collaborate with composers.

How does the speaker describe his relationship with Paul Morvi?

• They never communicated directly.

• They were not close friends.

• They had a strong understanding of each other.

• They often disagreed.

What does the speaker say about the audience's focus in an opera?

• The audience comes to hear the librettist's words.

• The audience is not important.

• The audience is primarily interested in the music.

• The audience focuses on the director's work.

What would the speaker do in case of a major dispute with the composer?

• He would insist on his point of view.

• He would yield to the composer's decision.

• He would stop the collaboration.

• He would seek a third opinion.