Daily Record from Morristown, New Jersey • 95

I I i 1 I i 1 1 Daily RfoStS, Morris County, N.J., Sundpyj Aprils 6, 2003u 7 Life in the pitConductor gets an orchestra-eye view BY DEBRA SCACCIAFERRO DAILY RECORD 0 7 7i A i it BOB KARP DAILY RECORD Constantine Kitsopoulos of Chatham works in his home music studio. Kitsopoulos is the conductor of the new hit Broadway production of 'La He works with a group of 28 musicians each night in a very cramped pit to bring the musical score to life. The orchestra pit of The Broadway Theatre in New York City where "La Boheme" is playing, is one of the largest on the Great White Way But it's still a tight fit for one conductor, 28 musicians, and an equal number of music stands, instruments and cases. Microphones dangle from the low ceiling. A long narrow duct bisects the ceiling, forcing viola and oboe players to carefully position their tall instruments on the diagonal to avoid hitting the duct.

Maestro Constantine Kitso-poulos of Chatham smiles at the musicians. He holds up a series of large cards printed with phrases like "Welcome Subs!" which he slowly pans around so everyone can see. He is lit from below. His image appears on the closed-circuit video screens hung around the pit and out in the audience facing the stage for the singers to see. The lights dim.

Kitsopoulos signals for silence. He smiles, holds up his baton. His eyes dart back and forth to make sure all the musicians are ready Every eye is on him. He strikes the downbeat and the first melodic strains of the overture fill the theater. Above the musicians' heads, scenery rumbles and squeals.

The curtain opens and the singers start to sing to loud applause. Down in the pit, the voices of the singers are faint The music becomes its own performance. The musicians are tuned to each other's artistry and to the beneficent approval of Maestro Kitsopoulos. During the performance, the maestro's face is a visual reference for every shift of emotion in the score. "Some musicians don't give you very much to go on," said his assistant, Rachel Wortham, an aspiring actress who sings in Kitsopoulos folk group, the Metropolitan Greek Chorale.

"But Maestro Kitsopoulos is one of the best conductors I've ever worked with. You can look at him and know exactly what he wants and how he wants it" Nothing fazes him. Not even actors who wheel bicycles, march, pound drums and roller skate down a ramp just inches away from his head. There is only a grin and a shrug of his shoulders when long strands of parade confetti land on his shaggy brown hair and curl around his baton. "Conducting looks u.lll,l.,...M,..y,,,,.wll...

UJ, 7 i I poulos sits outside the pit, where actors on their way to a costume change stop for a word of encouragement or advice. In "sotto voce" tones, he soothes the actress playing Mimi, who is having trouble with her voice. A few minutes later, he is consoling an actor who is substituting in a new part. "I came in late," the actor moaned. "Just a little," Kitsopolous concedes, patting him on the shoulder.

"But you recovered beautifully" "I have to keep my eyes and ears open all the time," he said later. "I guess you could say I'm driving the bus. Things go wrong. Someone comes in a beat late. Tonight, Mimi was having trouble with her voice and started to slow down the tempo.

I have to be pushing and pulling the actors and the musicians. But that's what makes live music so exciting and so responsive. It's all people skills, and being able to open all your senses to everything that is happening." 3 SUE ADLER Wei Huang as Mimi and Alfred Boe as Rodolfo in Baz Luhrmann's production of Giacomo Puccini's 'La Conductor Kitsopoulos also works with all of the singers and often must help them get through difficult nights when voices or other things aren't up to peak performance. Kitsopoulos said. "But there's a trick is being in the moment and tions on your face.

The emotions technique to it Once you've mas- when you're there, the music are real. They come from the tered that technique, you can just informs everything you do. You music." let the music come through. The don't have to manufacture emo- During intermission, Kitso Debra Scacciaferro can be reached at (973) 428-6662 or dscacciaiftgannett.com..