But a lot of times even the person who dies still has to sing for a little bit after a fight." "I mean if they didn't have to sing or really worry much about breathing afterwards, and they could just take a break then I could do a fantastic fight.
"We don’t try to create the coolest fight ever," Wolfe said. "And then before doing the scene we actually have a fight call so we can slowly go through the bumps and be like, OK, we're safe, we know where the slaps are happening and hair pulls because sometimes adrenaline hits and you can go a little too far, but he always makes sure that we're safe." "So we rehearse things very slowly and then bring it up to speed," Costa-Jackson explained. She pointed out that Wolfe puts safety first in designing the fights. Ginger Costa-Jackson plays Carmen to Watson’s Don Jose. I do but in a brutal, get the job done way." "Whereas Escamillo going to be more measured, much quicker, more skilled because that's what he does for a living. "Don Jose is going to be much more brutal, much more emotionally involved," said Robert Watson, the tenor playing Don Jose at San Diego Opera. The fight between Don Jose, a soldier, and Escamillo, a toreador, reveals who they are as characters. Passions Run High In San Diego Opera's 'Carmen' "We build up slow so that they get a body awareness and muscle memory with the fight and constantly focusing on the story that we're trying to tell within the fight because of a fight doesn't serve the story, then we really shouldn't be fighting." "First I worked with the actors or singers to get a feel for their physicality and then I create the choreography around them," Wolfe said. For San Diego Opera’s "Carmen," Wolfe had just days to work out fight choreography for the show. But the challenge for a fight director in opera is that you can’t use stunt doubles or ask for a retake.
"I think everybody either gets stabbed or stabs somebody in opera with a knife at one point or another." "The knife is my favorite weapon to choreograph with because it's close, it's intimate, and the knife is the weapon of opera," Wolfe stated. And it’s operas like "Carmen" that keep Wolfe employed.īizet’s passionate tale of a fiery temptress and her jealous lovers provides Wolfe with ample opportunity to work with his favorite weapon.
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