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Hands to the opera: Interview with Beth Krynicki

The Stage Management workshop is given by the renowned Regisseur Beth Krynicki for the work Cross the face of the moon, opera mariachi  to be premiered at the Teatro Nacional Sucre on September 20th, 2018, under the stage direction of the outstanding Regisseur, novelist and librettist Leonard Foglia

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The work of the stage director begins with the process of testing the work and culminates at the end of the last function of the season and the closing of the work, leaving a clear and precise production book. The objective of this workshop is that the participant understands from the practice and in depth, what it means to be the professional that performs the role of the highest authority of the stage during a function. The duration of the workshop fluctuates between 120 to 150 hours and will take place from August 27th to September 21st, 2018.

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What is your vision of the opera scene or stage direction in Latin America?
My view of Latin American stage direction? It’s the same as on any continent – every director brings his or her experience and style – flavor, if you will – to the process. We are all in the business of storytelling, telling stories is a universal cultural feature.

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How has your experience, working in Latin America and with Latin American directors, been?
As in any country, there are directors who are prepared or not, who work collaboratively or not, who can communicate well or not, who need to throw tantrums or not. I have had experiences with Latin American directors at both ends of the spectrum.

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What are the differences between the training and management styles of Latin and European regisseurs?
I cannot speak to the school training in either place. The few Latin American directors I have worked with generally learned while assisting established directors here and abroad over the course of several years, a common method in the business.

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We know the contrast between America and Europe, but do you value or follow the work of a Latin American professional?
Hah! I’ve been in the business long enough to know that celebrities are human just like the rest of us, so, no, I never followed or aspired to a particular person’s career. I value those professionals who treat their colleagues with respect no matter the job they perform, and thanks to social media I have been able to keep track of the careers and achievements of friends such as Chia Patiño at Teatro Nacional Sucre.

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ABOUT BETH KRYNICKI
Beth Krynicki was the principal Stage Manager at the Washington National Opera where she worked for 21 years. She also worked 15 seasons with the Wolf Trap Opera Company and 12 seasons with the Spoleto Festival USA (South Carolina). Additionally she has worked among others in Seattle Opera, The Dallas Opera, Bolshoi Ballet, Royal Opera House Muscat (Oman), Palau de la Música (Barcelona), Houston Symphony and the National Symphony Orchestra of the United States.

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She has given classes of Régie (Stage Management) at the University of Maryland and the University of Iowa.
As a curious fact, her voice is the one heard in St. Petersburg – the concert hall Mariinskym reminding the public to turn off their cell phones. Currently residing in Barcelona, ​​Spain.

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Crossing the Face of the Moon has been presented in several companies, highlighting San Diego Opera, Lyric Opera of Chicago, Phoenix, Arizona, Forth Worth and Théatre du Chatelet in Paris.

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