Art Chowder September | October 2017, Issue 11 | Page 50

Eckart Preu Interview
Q. How do these co-productions work and are
they challenging?
Eckart Preu: We have worked together in
the past collaboratively on La Boheme, in
November 2015. Since we mostly share
the same audiences we are excited to
again work together. Artistically, co-pro-
ductions are a breeze—it is the business
side where we need to work on the han-
dling of ticket sales, risk sharing, etc.
Q: What is the most fulfilling aspect of both or-
ganizations working together?
Eckart Preu: We enjoy inspiring our indi-
vidual audiences and we certainly wel-
come the opportunity to jointly inspire
both our symphony and opera patrons.
As art organizations we like to stick to-
gether. Each element of sharing a com-
mon denominator, working through each
special and unique aspect of the event, is
a great experience for both our organiza-
tions. Most larger organizations will take
a month or two to prepare—we come to-
gether and polish the performance in one
and half weeks—everyone is that incred-
ibly prepared and focused to share in this
famous opera.
Q: Is there a particular number that you especial-
ly enjoy conducting?
Eckart Preu: I love opera and conducting
both the symphony and opera together
is so multi-dimensional. A symphony
could almost conduct itself, however
an opera presents more challenges, and
nothing goes on without a conductor’s
involvement. There is a more connected
feeling that encompasses a lot of variety
and diversity with a dependency on the
conductor from the technical aspect.
Q: Why is Carmen a great opera for the novice
audience?
50 ART CHOWDER MAGAZINE
Eckart Preu
Conductor
Eckart Preu: Carmen has such a catchy and
clear progression that is easy to focus on
and understand. It is classic and conven-
tional in a good way. With great arias,
followed by action, it keeps the audience
engaged. It has a great gypsy influence
and a story that moves through a love tri-
angle—it is a lasting tale that has stood
the test of time.
Q: Do the Spokane Symphony musicians enjoy play-
ing music for an opera like Carmen?
Eckart Preu: It’s different playing at a sym-
phony concert on stage versus playing
in the orchestra pit. The exposure is, of
course, very different, but also the atti-
tude. While on the concert stage, “we”
as orchestra are the center of the music.
In opera, the singers on stage are the
center of the music, and the orchestra is
in accompaniment mode. The orchestra
fulfills a very important dramatic func-
tion in opera, but it is very different from
being the main actor.