Aveline Kirana
LA Opera is set to transform the historic United Theater on Broadway in downtown Los Angeles into a nexus of cinematic nostalgia and operatic innovation this Halloween season. On October 30 and 31, the company will stage "Hercules vs Vampires," a unique multimedia production that synchronizes a live operatic score with the screening of Mario Bava’s 1961 cult classic film, "Hercules in the Haunted World." This presentation, falling under the banner of the company’s "Off Grand" initiative, represents a growing trend in the performing arts sector: the marriage of mid-century genre cinema with high-art musical performance to attract broader, demographically diverse audiences.
The Genesis and Evolution of the Production
The conceptual framework for this production originated with composer Patrick Morganelli, who sought to bridge the gap between the aesthetic extravagance of Italian "peplum" (sword-and-sandal) cinema and the dramatic weight of the operatic tradition. Morganelli did more than simply write an accompaniment; he meticulously adapted the film’s original dialogue into a libretto that allows live singers to inhabit the roles of the characters on screen.
The work was initially commissioned by Opera Theater Oregon, where it saw its world premiere in 2010. The success of that debut signaled a hunger for unconventional operatic programming. Since 2010, the production has functioned as a touring model for regional opera houses across the United States. Notable stagings have occurred at the North Carolina Opera, Arizona Opera, and Nashville Opera, each iteration helping to refine the technical requirements of live synchronization between a pit orchestra and a projected film print. This multi-city tour demonstrates a rare level of inter-company collaboration, allowing smaller regional entities to share production costs while providing audiences with a high-concept, low-risk entry point into the genre of opera.
Cinematic Context: Mario Bava and the Peplum Genre
To understand the artistic intent behind "Hercules vs Vampires," one must consider the historical significance of the source material. Mario Bava, a cinematographer-turned-director, is widely regarded as the father of Italian horror cinema. "Hercules in the Haunted World" (originally titled "Ercole al centro della Terra") serves as a prime example of Bava’s signature visual style—characterized by saturated, expressionistic color palettes, elaborate set designs, and a dreamlike, almost surreal atmosphere.
When the film was released in 1961, the "Hercules" subgenre was at its commercial zenith. However, Bava’s contribution stood apart from his contemporaries by infusing the mythological hero’s journey with Gothic horror tropes. By stripping the film of its original soundtrack and replacing it with a live, modern operatic score, LA Opera is essentially recontextualizing a piece of mid-century pulp entertainment as a contemporary dramatic work. This act of artistic curation elevates the film, moving it from the realm of "late-night television nostalgia" to a formal stage event.
Artistic Leadership and Casting
The upcoming Los Angeles production marks a significant milestone for the company’s internal leadership. Blair Salter, currently serving as the Head of Music at LA Opera, will make her company conducting debut for these performances. Her role is critical, as the task of conducting a live score to a pre-recorded film requires a degree of precision distinct from traditional opera conducting. Unlike a standard production, where the conductor may adjust tempo to follow a singer’s breath, the conductor in "Hercules vs Vampires" must adhere strictly to the film’s frame rate, ensuring that the musical cues and vocal entries align perfectly with the actors’ lip movements on screen.
The cast features a blend of established vocal talent tasked with the challenging job of voice-acting within a cinematic framework. Baritone Joel Balzun takes on the titular role of Hercules, a character that requires both physical presence and vocal endurance to cut through the density of the orchestration. He is supported by soprano Alexis Seminario as Dianara and baritone Gabriel Manro as the antagonist, Lycos. The supporting ensemble includes tenor Roy Hage (Theseus), soprano Gabrielle Turgeon (Medea), mezzo-soprano Gretchen Krupp (Persephone), and bass James Hayden (God of Evil/Procrustes). The presence of tenors Orson Van Gay II and Robert Norman, who will cover multiple roles including Kyros and Telemachus, highlights the lean, efficient structure of the production, which utilizes a smaller ensemble to maximize impact within the venue.
The Off Grand Initiative and Audience Development
The inclusion of this production in the "Off Grand" initiative is a strategic move by LA Opera. Established to move the company beyond the confines of the Dorothy Chandler Pavilion, the Off Grand series is designed to reach new audiences in unconventional venues throughout Los Angeles. By utilizing the United Theater on Broadway—a landmark of the city’s historic theater district—LA Opera is aligning itself with the cultural revitalization of downtown.
Industry data suggests that "crossover" events, such as film-with-orchestra concerts, are among the most successful tools for audience acquisition in the non-profit arts sector. According to recent reports from the League of American Orchestras, symphony and opera organizations that incorporate film into their programming see a higher percentage of first-time attendees compared to standard repertoire productions. The decision to conclude the October 31st performance with a Halloween afterparty and costume contest further underscores the company’s goal of positioning opera as a social, community-oriented experience rather than an exclusionary or overly formal one.
Implications for the Future of Opera
The success of "Hercules vs Vampires" across multiple American cities suggests that the "live-to-film" model is becoming a staple of the modern operatic season. For many organizations, the ability to present works that leverage existing visual intellectual property (IP) reduces the burden of staging and design, allowing the focus to remain on the musical execution. However, this shift also raises questions about the future of the art form.
Critics of such programming argue that relying on external media might detract from the focus on the human voice. Conversely, proponents argue that such productions provide a vital lifeline to opera houses by generating revenue and fostering an appreciation for orchestral music among audiences who might not otherwise purchase a ticket to a traditional Mozart or Puccini work.
Furthermore, the technical complexity of these performances serves as a training ground for modern opera conductors. Mastering the synchronization of digital projection and acoustic performance is a skill set that is increasingly demanded in a world where interdisciplinary art is the norm. The coordination required between the LA Opera Orchestra and the film’s pacing is a testament to the versatility of the musicians involved, who must shift from traditional operatic rubato to a more metronomic, clock-driven style of performance.
Logistics and Accessibility
For prospective attendees, the choice of the United Theater on Broadway is significant. As an iconic venue in the heart of Los Angeles, it provides an atmospheric backdrop that complements the Gothic sensibilities of Bava’s 1961 film. By programming the event for the two nights surrounding Halloween, LA Opera is tapping into the seasonal demand for horror-themed entertainment.
The logistical coordination of bringing such a production to Los Angeles involves extensive rehearsal periods centered on the synchronization of the score. Because the film is "locked" in terms of its timing, the musicians are required to operate with a degree of internal discipline that matches the visual medium. For the performers, the challenge lies in maintaining the emotional urgency of the story while working within the rigid constraints of a pre-recorded visual timeline.
As LA Opera moves forward with its 2024-2025 season, the "Hercules vs Vampires" production stands as a case study in how heritage institutions can adapt to a changing media landscape. By blending the high-art tradition of opera with the populist appeal of the horror genre, the company is attempting to ensure its long-term viability in an increasingly crowded entertainment market. Whether this model will continue to yield similar results in future seasons remains to be seen, but the consistent demand for these performances across the United States suggests that there is a significant, and perhaps growing, appetite for the intersection of cinema and the operatic stage.
In conclusion, the upcoming Halloween performances represent more than just a seasonal novelty. They represent a deliberate effort to redefine the parameters of the opera house, utilizing the tools of the digital age to honor and reinterpret the traditions of the past. Through the work of Patrick Morganelli and the commitment of the LA Opera artistic team, "Hercules vs Vampires" offers a unique window into the potential for collaboration between disparate modes of storytelling, proving that the ancient myths of the past can find a new home in the haunted theaters of the present.
