In this article we will explore the different aspects of Prima Donna (film), with the aim of providing the reader with a complete and detailed analysis of this topic. From its origins to its relevance today, through its impact on different areas of society, we will immerse ourselves in a journey in which we will address its multiple facets. Through the combination of historical data, current theories and concrete examples, we aim to offer a comprehensive vision that allows a thorough understanding of the importance of Prima Donna (film) in contemporary society. Whether it is a person, a concept, a date or any other element of interest, our purpose is to provide the reader with the necessary tools to delve into the fascinating world of Prima Donna (film) and understand its relevance today.
Prima Donna | |
---|---|
Based on | opera Prima Donna by Arthur Benjamin |
Directed by | Alan Burke |
Country of origin | Australia |
Original language | English |
Production | |
Running time | 60 mins |
Original release | |
Network | ABC |
Release | 28 January 1959 | (live, Sydney)
Release | 5 March 1959 | (recording, Melbourne)
Prima Donna is a 1959 television play broadcast by the Australian Broadcasting Corporation. It was an adaptation of an opera by Arthur Benjamin and was directed by Alan Burke. It was the first of several operas Burke would direct.
The play went for one hour and Burke only had nine hours of rehearsal.[1] Burke later recalled:
In 1959 I was allowed to do my first opera, The Prima Donna by Arthur Benjamin This was a live opera, with the orchestra conducted by Joe Post, who was Head of ABC Music. The rehearsal schedule was made out for me. It allowed 3 calls of 3 hours each. I went to see Joe Post to check this relatively short time allocation and he said "Isn't it enough time to tell them where to stand?" Joe Post was a radio person - he hated television. This opera was done in the days when we had the Symphony Orchestra in the studio. One day Joe Post stopped the orchestra and called out "Mr. Burke, those boys are taking close-ups again". I thought 'What can we do?' I said "Forgive me Mr. Post, the reason they are taking close ups is because I have plotted close ups for them". Then I gave him a five minute course on television. So he seemed to accept this.[2]
Marie Tysoe later recalled:
That was conducted by Joseph Post. This was done live and we had a lot of trouble to see the conductor and also to please the producer with the camera positions. The orchestra was in the studio as well. It was easy to get out of sync if we did not see the conductor. It was very crowded in the studio.[3]