{"id":21976,"date":"2025-05-07T14:30:58","date_gmt":"2025-05-07T12:30:58","guid":{"rendered":"https:\/\/norrlandsoperan.se\/class-monitor-air-traffic-controller-and-lover-of-la-boheme\/"},"modified":"2026-09-04T15:16:48","modified_gmt":"2026-09-04T13:16:48","slug":"class-monitor-air-traffic-controller-and-lover-of-la-boheme","status":"publish","type":"post","link":"https:\/\/norrlandsoperan.se\/en\/class-monitor-air-traffic-controller-and-lover-of-la-boheme\/","title":{"rendered":"Class monitor, air traffic controller, and lover of *La Boh\u00e8me*"},"content":{"rendered":"\n
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When did you start working at the Norrlands Opera?<\/h4>\n\n\n\n

\u2013 My journey at the Norrlands Opera began, of all things, because of unemployment in the \u201990s. I started out as an archaeologist, but during an economic downturn, I ended up in job training programs. I had some connections here at the Norrlands Opera through my interest in theater, so I wrote to them saying, \u201cYou can have me for free for half a year\u2014I\u2019ll do anything.\u201d I started out selling programs and interacting with the audience, and then I snuck into rehearsals. The following year, I was asked to fill in for the stage manager at the time. I said, \u201cWhat? Are you out of your minds?!\u201d because he was like a demigod to me. But they believed in me, so I walked alongside him during a performance, and then I started filling in for productions. In 1999, I worked on my first production as stage manager, and when we inaugurated the main stage in 2001, I became a full-time employee.<\/p>\n<\/div>\n\n\n\n

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What attracted you to opera?<\/h4>\n\n\n\n

\u2013 My interest in opera developed gradually. I was a member of the amateur theater group Grotteatern, which was very large at the time. In 1992, we collaborated with the Norrlands Opera on a massive amateur production, *Fiddler on the Roof<\/em>*. Then Norrlandsoperan staged a massive production of *Carmen*<\/em> on its own, and those of us who had been part of the earlier project got the chance to join the chorus\u2014without having to audition. Of course I jumped at the chance! It was so much fun, and that\u2019s when I began to understand opera. For me, it took works like these\u2014classic masterpieces\u2014to really get a feel for the art form.

So my understanding of this art form has come gradually, and I still find myself questioning certain aspects of opera. Sometimes I feel that, while the singing is beautiful and goes on for a very long time, it doesn\u2019t really advance the story at that moment. Sometimes I think the dramaturgy could be improved. Over time, we\u2019ve become a bit bolder in editing operas. A good example of this was our production of *Macbeth*<\/em>, which was shortened\u2014partly due to the pandemic\u2014by cutting out chorus scenes and the like. I thought it was absolutely fantastic! <\/p>\n<\/div>\n\n\n\n

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What does an opera stage manager do?<\/h4>\n\n\n\n

\u2013 The short version is that during rehearsals, I\u2019m the class monitor, and during performances, I\u2019m the stage manager. I\u2019m like a link between the artistic and the technical sides. Everyone working on the shows knows what they\u2019re supposed to do, and I know when it needs to be done, because I\u2019m the one with the cue cards and I\u2019m in charge of overseeing everything. The word \u201cstage manager\u201d has the same roots as \u201cinspect\u201d\u2014it means keeping track of things.

During the performance, I\u2019m in contact with everyone in \u201cblack,\u201d as they say\u2014that is, lighting, sound, props, makeup, and costume technicians. Everyone wears a radio so we can communicate. For example, I\u2019ll say over the radio: \u201cStand by. Scene change. Go!\u201d or that there are three minutes left until a quick costume change. Some larger theaters have different signaling systems with lights and such, but we traditionally use radios here.<\/p>\n<\/div>\n\n\n\n

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What qualities does a good opera stage manager have?<\/h4>\n\n\n\n

\u2013 Able to handle stress, or at least not let it show! A sense of order\u2014being able to stay steady when things are blowing in different directions. These are qualities I didn\u2019t naturally possess, but which I\u2019ve had to work on. I\u2019ve been doing this for so long now that I\u2019m actually pretty good at it! But I\u2019ve certainly taken my share of hits along the way.

Then, being able to think ahead when the artistic team has ideas. For example, asking if they\u2019ve thought through whether they\u2019ll have time for certain things based on the length of the music. I\u2019m pretty unafraid to ask those kinds of questions if I do a run-through beforehand. Then I form a team with the entire production crew. I create what\u2019s called a \u201crun-through list,\u201d which is really a living document that lists, in sequential order, the events that take place during a performance\u2014as I see them from an outsider\u2019s perspective. So I write down what happens in chronological order, then people get to work fitting their own timing into it, and I can help determine how much time should elapse between one event and the next. <\/p>\n<\/div>\n\n\n\n

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What is a typical workday like on performance days?<\/h4>\n\n\n\n

\u2013 Yes, it starts early in the day when we need to do a functional check on everything. In the morning, I go to my booth, which is right next to the stage, and make sure the monitors, sound, and everything else are working. Then we have a briefing with everyone involved in the production, where we briefly go over what happened last time, if there\u2019s anything we can fix, if there are any special circumstances for tonight, and where everyone gets a chance to speak up. It\u2019s to keep our routines on point. It\u2019s so easy after the premiere to start resting on your laurels, but you really have to stay vigilant and be a bit self-critical. A lot of it is about identifying systemic issues. Is there any equipment that tends not to work, or mistakes that happen because someone is overworked, for example? I write a report after every performance for that reason. <\/p>\n<\/div>\n\n\n\n

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What’s the best part of the job?<\/h4>\n\n\n\n

I guess it\u2019s that feeling you get when you\u2019ve worked hard\u2014which is exactly what we\u2019ve done with our latest production, *The Mistresses<\/em>*. The premiere is a little nerve-wracking, of course, but there\u2019s still that feeling of, \u201cI\u2019ve got this!\u201d My heart\u2019s racing a bit, but I know what I\u2019m doing\u2014it\u2019s simply a matter of being in control. Because a production isn\u2019t really finished until the premiere\u2014there are always minor adjustments. There\u2019s a sense of pride in that. It\u2019s not us who are up there accepting the flowers, but we still feel a sense of pride in our work\u2014that we\u2019re making this all come together.<\/p>\n<\/div>\n\n\n\n

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There\u2019s been some talk around here that you have a special connection to *La Boh\u00e8me*<\/em> in particular?<\/h4>\n\n\n\n

Yes, it\u2019s one of my favorite operas! It\u2019s accessible and has incredibly beautiful music! As a composer, I think Puccini is very good at conveying emotions through his music without it becoming maudlin. I can get really moved by his music, and I also think he handles the stories effectively. So far, I haven\u2019t seen a single Puccini opera where I\u2019ve felt there was any dead time\u2014where someone is just standing there singing for the sake of singing. There\u2019s always a purpose to it. La Boh\u00e8me is, after all, a fairly simple story about love among young people and their somewhat aimless lives. I feel like you really connect with them. I understand those feelings\u2014I can relate and think, \u201cYes, that\u2019s exactly how it is!\u201d It\u2019s very human. And this is the third time during my tenure that *La Boh\u00e8me*<\/em> has been on the program\u2014so I know it well! <\/p>\n<\/div>\n\n\n\n

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What makes *La Boh\u00e8me*<\/em> so special?<\/h4>\n\n\n\n

\u2013 It starts with the music just kicking off, and then there\u2019s a rapid exchange of lines between Rodolphe. Now we\u2019re diving right into their world! And it doesn\u2019t slow down much, except when Mim\u00ec and Rodolphe fall in love\u2014the music just keeps flowing, and then things start happening! I think it\u2019s absolutely fantastic; with the background I had before I started working with opera, it\u2019s like stepping right into a movie, all of a sudden! You get swept up in it, even though that whole group of guys teases each other a lot, jokes around, and messes with each other\u2014but you buy into it because that\u2019s just who they are. It\u2019s mostly about how we\u2019re going to pay the rent\u2014or get out of paying it. How do we get food and heat? Pretty irresponsible. <\/p>\n<\/div>\n\n\n\n

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What’s your favorite part of the opera?<\/h4>\n\n\n\n

\u2013 I\u2019ve been rehearsing it again, and every time I get to the final scenes, it really tugs at my heartstrings! There\u2019s a piece of music there that isn\u2019t really emotional but rather fateful\u2014when Mim\u00ec knows she\u2019s going to die even though she doesn\u2019t talk about it, and you know this is all going to go to hell. It\u2019s really tough every single time. The whole group of friends scrambles to raise money for medicine and a doctor, and then they leave her alone for a while. Then she just fades away, and Rodolphe doesn\u2019t even notice she\u2019s died. Suddenly, he hears spoken lines that aren\u2019t in the opera at all: \u201cWhy are you all so quiet? What are you doing?\u201d Then he realizes what\u2019s happening, and he lets out that tenor scream: \u201cMim\u00ec!\u201d It\u2019s powerful how the opera form is suddenly abandoned in that moment.<\/p>\n<\/div>\n\n\n\n

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How is *La Boh\u00e8me*<\/em> as a chamber opera?<\/h4>\n\n\n\n

\u2013 I think this version, as originally staged by Malm\u00f6 Opera, works really well! They capture the essence of it! There are only a few musicians, and what\u2019s been cut out are parts of the large choral scenes. The way the singers are directed still gives you the feeling that they\u2019re in the bustling streets of Paris, sitting in that restaurant. Large choruses are sometimes just there to fill space, so there are many operas that can be adapted to a chamber format. I think it\u2019s great to actually do that, because then you can perform on fairly small stages, and it doesn\u2019t make for a worse experience at all! This production was designed from the start to be in this format. <\/p>\n<\/div>\n\n\n\n

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Experience Tarja’s favorite opera La Boh\u00e8me<\/a><\/em> as it tours Norrland in April\u2013May 2025.

Read more and book tickets for La Boh\u00e8me<\/em> here: norrlandsoperan.se\/forestallningar\/la-boheme-pa-turne\/<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"

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