In 1983, a brilliant gentleman named Lofti Mansouri, introduced surtitles - what we all today call supertitles. These are the translated words of the opera’s libretto that we read above the stage (usually), in front of us (at the Met) or at the bottom of the screen for Live in HD (I guess those are technically subtitles).

Although at the time of their introduction they were decried by opera purists, there is no denying that, no matter what you call them, they have allowed everyone who can read access to what was once a closed world. Before supertitles, you really did need to read the libretto or synopsis first. You had to be very familiar with the characters and the story if you wanted to know what was happening. It’s one of the big factors that gained opera its elitist reputation and the notion that you had to be super-educated to understand opera.

To this day, I run into people weekly that do not know supertitles exist. They think you just go listen to people sing in a foreign language for 4 hours. Justifiably, they don’t want to go to the opera because they assume they will not know what’s going on. If people JUST KNEW that there were supertitles then we could definitely increase opera audiences. A good old fashioned ad campaign on this subject would be very effective!

It’s absolutely true that opera existed for centuries before supertitles. But personally I have to say I’m not sure how.  I’m not one of these “just listen to the beautiful music and singing” people. It’s OPERA, not a concert, and I want to know what’s going on; and not just some lame front office synopsis - I what to know what he’s saying!

So imagine what an epic fail it was when the supertitles were nonexistent at the inaugural performance of a brand new opera company’s production of Carmen. They tried valiantly to fix them, but to no avail. I can’t think of a bigger problem; even a star being ill would have had less effect than this did. You don’t exactly get the banter between Carmen and Don Jose in Act 2 just by someone reading a synopsis to you before the act.

Just because you know the Habanera and probably the Flower Song, you still loose the excitement when Escamillo describes the bull fight unless you’ve memorized it. The humor of the card trio contrasting with Carmen’s foretelling of doom…..sure it’s in the music, but the nuance, the fun… it’s all gone. And what is Micaela going on about in Act 3 anyway?

I guess my point is: in this day and age, with a modern audience, when we are trying TO CONVERT people to try and love opera, supertitles are not optional, they are essential. And even if you are a fledgling opera company having your first performance – have a double or triple back up for the supertitles! Never forget, there is always someone there who has never seen this opera before; there is always someone there who has never been to the opera before period.

P.S. The performances were utterly fantastic. It made the loss of what they were saying even more disappointing.