{"id":74,"date":"2014-08-14T11:54:30","date_gmt":"2014-08-14T11:54:30","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/omf\/?page_id=74"},"modified":"2016-09-21T10:31:19","modified_gmt":"2016-09-21T10:31:19","slug":"schedule","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/omf\/events\/october-24th-2014\/schedule\/","title":{"rendered":"PROGRAMME"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Programme:<\/strong><\/p>\n

Opera and the Media of the Future <\/strong>24\/25 Oct 2014<\/p>\n

Day One : Opera Audiences<\/em><\/strong>
\nFriday 24th October<\/em><\/p>\n

9.15-9.45<\/strong> Coffee\/Registration<\/p>\n

9:45-10.00 <\/strong><\/p>\n

Introductions <\/strong><\/p>\n

Professor Nick Till,<\/strong> Director of the Centre for Research in Opera and Music Theatre at the University of Sussex.<\/p>\n

Session one: Live Cinecasts<\/strong><\/p>\n

10.00-10.30 <\/strong><\/p>\n

Keynote<\/strong> Chris Morris, National University of Ireland Maynooth<\/strong><\/p>\n

The Next Best Thing<\/p>\n

The mediatisation of opera is hardly new: audio recordings of opera have been produced since the technology first emerged, and television began broadcasting live opera over half a century ago. Meanwhile, the catalogue of opera on DVD now amounts to over 3000 titles. Yet the recent impact of webcasting and cinecasts has taken many by surprise. I reflect on these recent developments and ask what it means for the production of opera and for our understanding of the experience of opera. What does \u2018live\u2019 mean in this context? Can mediatised opera be understood in its own terms or is it merely what the Met has called ‘the next best thing’ to being in the opera house? Framing my discussion is the question of what the academic field of opera studies might bring to a consideration of these issues and whether anyone should care what it has to say.<\/p>\n

10.30-11.30 <\/strong><\/p>\n

Cinecasts: the Met\/ROH model<\/strong><\/p>\n

Should we be sceptical about the future of the cinecast phenomenon? What is the effect of the global \u2018branding\u2019 of opera? How might cinecasts affect traditional opera, its staging and the concepts of liveness and authenticity?\u00a0What are possibilities and limitations for growth of the audience and of the repertoire?\u00a0What can we learn from the different experiences of webcasting as opposed to cinecasting?<\/p>\n

John Fulljames<\/strong> Associate Director, Royal Opera House<\/p>\n

J\u00f8rn Pedersen <\/strong>Orchestra Director \/ Project Manager Media Production, The Norwegian National Opera and Ballet<\/p>\n

Vicky Kington<\/strong> Media Manager, Glyndebourne
\n<\/strong><\/p>\n

Andrew Pettie <\/strong>Head of Culture, Telegraph Media Group<\/p>\n

11:30-11:45<\/strong> Coffee Break<\/p>\n

Session two:<\/strong> Current Audience Research<\/strong><\/p>\n

11:45-12.15<\/strong><\/p>\n

Keynote<\/strong> Martin Barker <\/strong>Emeritus Professor of Film and Television Studies, University of Aberystwyth; author of Picturehouse Report on Opera Cinecasts.
\n<\/span><\/p>\n

\u201cDistinct\/Distinctive: What Opera Audiences Take To and From Cinema Simulcasts\u201d<\/p>\n

The phenomenon of opera simulcasting is clearly a major development – but what do we know about the audiences for these events?\u00a0 And what do we need to know about them?\u00a0 A number of pieces of research have been carried out.\u00a0 The results from these have answered some of the important questions, but some others have hardly been touched.\u00a0 In this presentation I will try to summarise what we know, what we don’t know – as well as asking some other questions about this emergent phenomenon.<\/p>\n

12.15 -1.15 <\/strong><\/p>\n

Panel Discussion.<\/strong><\/p>\n

John Holmes<\/strong> Head of Marketing, English Touring Opera<\/p>\n

Karen Wise <\/strong>Research Associate, Guildhall School of Music and Drama<\/p>\n

Emma Keith<\/strong>\u00a0 Producer, National Theatre Live (NESTA research)<\/p>\n

1.15-2.15<\/strong> pm lunch<\/p>\n

Session Three: <\/strong> The Future Mediascape<\/strong><\/p>\n

2:15\u2013 2:45 <\/strong><\/p>\n

Keynote David Berry<\/strong> Reader in Media, University of Sussex.<\/p>\n

“Materiality and Post Digital Media”<\/p>\n

2:45 \u2013 3:45
\n<\/strong><\/p>\n

Panel discussion. <\/strong>Chaired by Craig Vear,<\/strong> Reader in Performing Arts, De Montfort University. New media and the audience experience.<\/p>\n

Sally Jane Norman <\/strong>Professor of Performance Technologies, University of Sussex<\/p>\n

Mary Agnes Krell <\/strong>Lecturer in Media and Film Studies, University of Sussex<\/p>\n

3.45-4.00 <\/strong>Coffee Break<\/p>\n

Session four<\/strong>: Audience development, Education and Marketing<\/strong><\/p>\n

4.00 \u2013 5:00<\/strong><\/p>\n

Aine Sheil <\/strong>Lecturer in Music, University of York. <\/strong>What can new media and mobile platforms offer to opera companies seeking to expand their audiences or reach them in different ways?<\/p>\n

Lucy Lowe <\/strong>Head of Education, <\/strong>Glyndebourne Opera<\/p>\n

Tony Followell<\/strong>, Head of Media, Royal Opera House<\/p>\n

Mark Ralphs<\/strong>, Managing Director, Bloom Worldwide<\/p>\n

5:00 End Day One<\/strong><\/p>\n

\u00a07pm Opera Turn of the Screw<\/strong> for those with tickets (dinner \/ opera deal will be available for purchase)<\/p>\n

___________________<\/p>\n

Day Two : New Forms for<\/em> Opera<\/em><\/strong><\/p>\n

Saturday 25th October<\/em><\/p>\n

Session One New Media and Opera <\/strong><\/p>\n

9.30-10.15 Panel Discussion. <\/strong>New directions new commissions, larger opera companies engaging new operatic forms.<\/p>\n

Tim Hopkins<\/strong> Opera Director; Research Fellow, Centre for Research in Opera and Music Theatre<\/p>\n

David Pickard <\/strong>General Director, Glyndebourne Opera<\/p>\n

Andy Doe <\/strong>Music and Media Consultant<\/p>\n

10.15-10.30 <\/strong>CoffeeBreak<\/p>\n

Session Two: Opera on web and mobile platforms<\/strong><\/p>\n

10.30-11:30<\/strong><\/p>\n

This session will include presentations from practitioners in this new field:<\/p>\n

Craig Vear <\/strong>Composer \/ Reader in Performing Arts (Music) De Montfort University. Opening remarks and brief presentation on his work \u2018<\/strong>Sentimental Journey\u2019. What are the issued faced by composers\/creatives in re-imagining opera on new platforms?<\/p>\n

Robert Thomas <\/strong>Media composer. Presentation\/demonstration, new mobile platforms for music.<\/p>\n

 <\/p>\n

11:30-12.30<\/strong><\/p>\n

OMF Mini Web Opera commissions<\/strong><\/p>\n