Classical music, the Opera and the people behind it

Magne Bjella

11 hours ago

7 min read

A personal journey through music, culture and invisible capital

The illustration shows the Opera House in Bjørvika, Oslo, painted in a detailed watercolor style. The building dominates the motif with its characteristic white marble surfaces that slope down towards the water and invite the audience up to the roof. The large glass facade reflects the evening sky and provides a glimpse of life inside the foyer. Around the building, small human figures move across the roof, along the promenade and at the water's edge, emphasizing that the opera house is both a cultural center and a public urban space. The Oslofjord lies calmly in front of the building and reflects the warm golden and blue watercolor tones from the sky. The clouds are painted with soft brushstrokes that create an atmospheric transition between daylight and evening. The illustration highlights the modern architecture and symbolizes how The Norwegian Opera & Ballet is a place where architecture, art, music, dance and people meet. The image serves as the main illustration for the blog series about the opera house and the people who create the performances.

Some experiences leave a mark because they are big. Others because people take the time to share something they love.

For me, my interest in classical music really began through people.

Throughout my long working life, I have been fortunate to meet people who have taught me a lot about technology, management, marketing and digitalization. But some have also opened doors to completely different worlds. Worlds filled with art, culture and music.

One of the most important experiences was the years I worked at the Norwegian Opera & Ballet.

It was here that I really began to understand what lies behind a performance. Not just the music and the art, but the people.

The illustration consists of three watercolors placed side by side against a light background. The first shows an old sheet of music with handwritten notes and a dark fountain pen lying diagonally at the bottom. The paper has soft, worn edges and is painted in warm beige and gray tones. The middle illustration is more abstract and shows a large G clef surrounded by floating notes moving through blue and gold watercolor strokes. The third illustration shows a sheet of music resting over the keys of a grand piano, where the notes seem to continue into the air. Together, the three motifs create a calm, poetic atmosphere that symbolizes music's ability to move from idea and composition to performance and experience. The series is used as visual breathing spaces between chapters in the blog series.

The Opera House – a house built by people

When people think of the Oslo Opera House, they often think of the building.

That's understandable.

Since its opening, the Opera House has become one of Norway's most famous buildings and a symbol of modern Norwegian culture. Every year, hundreds of thousands visit the building to experience performances or simply enjoy the view over the Oslo Fjord.

But the building does not create any illusions.

A building can be beautiful. It can be functional. It can be iconic.

But without the people, it's just a building.

When I worked at the Norwegian Opera & Ballet, I got to experience something the public rarely sees.

The illustration shows a large workshop and stage area backstage at the Norwegian National Opera & Ballet. In the left part of the image, costume designers work with a richly decorated opera costume, surrounded by rows of costumes in different colors and sketches for stage costumes on the wall. In the middle of the image, stage workers are building wooden sets, while others are painting scenography and making technical preparations. In the foreground, a lighting and sound technician sits in front of modern control desks with screens that show the stage image. Further back, several employees can be glimpsed collaborating on rigging, lighting and preparations before tonight's performance. On a board are the words "Focus", "Precision", "Cooperation", "Safety" and "Magic", which summarize the values the illustration wants to convey. The warm blue, brown and golden tones of the watercolor create a calm, industrious and respectful atmosphere. The image highlights the invisible capital – the people and professional expertise that make art possible long before the curtain rises.

Behind every performance stands a large team of people:

musicians
singers
dancers
conductors
stagehands
carpenters
painters
costume designers
seamstress
maskers
props
lighting designers
sound engineers
technicians
manufacturers
marketers
developers
economists
administration
management

The illustration shows the monumental oak cladding that encloses the main hall of the Norwegian Opera & Ballet. Four wide, curved balcony levels in light Norwegian oak float above each other and form a circular shape that gives the room both warmth and elegance. The horizontal lines lead the eye upwards and highlight the organic architecture of the building, while discreet lighting under the balconies creates a soft golden light. On the right are the characteristic slanted concrete columns that contrast with the warm wood. The illustration shows an area that the audience passes on their way into the main hall, but it also tells the story of the craftsmanship and expertise behind the building. Architects, engineers, carpenters, joiners, acousticians, lighting designers and a number of other professional environments have worked together to create one of Norway's most famous cultural buildings. The watercolor emphasizes how architecture itself can be part of the art experience and forms a natural transition between the city outside and the performing arts that await inside.

The audience enjoys seeing the soloists on stage.

But the performance is the result of hundreds of people working together towards a common goal.

For me, this is one of the clearest examples of what I have later chosen to call Invisible Capital.

The building is visible.

The scene is visible.

The performance is visible.

But what makes it all possible is far less visible:

The knowledge.

The experience.

Collaboration.

The community.

The people.

An email that opened the door

In the fall of 2013, I sent a simple email to a colleague at the Opera.

The question was also simple:

What classical music should I start with?

I didn't want to become an expert.

I just wanted to learn more.

Paul Podolski replied.

Orchestra director Jørn Pedersen agreed with the recommendations.

There was no syllabus.

No exam.

No academic review.

Just good advice from people who wanted to share something they themselves loved.

Jørn ended with a sentence that has stayed with me ever since:

"Start there, and you'll get refills eventually."

It's actually a fantastic description of how knowledge is shared.

Not by overwhelming people.

But by opening a door.

Paul's recommendations

When the response came, the list was both extensive and personal.

This was the music Paul thought I should start with.

"I'm afraid that no matter what I suggest, the next day I'll think "damn, I didn't think of that – and that – and that etc. etc. etc." - but here goes:"

Pyotr Tchaikovsky

The illustration is executed as a classic watercolor in landscape format. In the middle of the image, a detailed portrait of the Russian composer Pyotr Ilyich Tchaikovsky dominates, depicted with white hair and beard and a serious, thoughtful gaze turned to the right. Behind him lies an atmospheric Russian city with characteristic onion domes and water mirrors, painted in soft blue, purple and golden tones. To the right of the image are three old notes and scores with references to the works "Swan Lake", "Romeo and Juliet" and Symphony No. 6 "Pathétique". Musical notes flow diagonally throughout the composition and tie the various elements together. At the bottom of the illustration, a conductor leads a symphony orchestra, symbolizing that Tchaikovsky's music still lives on through today's musicians and concert halls. The watercolor's soft brushstrokes and warm color palette create a calm, nostalgic and poetic atmosphere that emphasizes the composer's importance to the romantic musical tradition.

Pyotr Ilyich Tchaikovsky (1840–1893) is considered one of the most beloved composers in history. Works such as Swan Lake, Romeo and Juliet, and Symphony No. 6 Pathétique make him a natural starting point for a journey into the world of classical music.

Symphony No. 6 "Pathétique" (not to be confused with one of Beethoven's piano sonatas which is also called "Pathetique" (and should undoubtedly also be on the list!)
Serenade for strings
Romeo and Juliet Overture
The 1812 Overture
Slave March
The Violin Concerto
Piano Concerto No. 1

The illustration shows a magnificent ballet performance painted in warm and soft watercolor colors. In the middle of the stage, a male dancer lifts his partner in a classic pas de deux, while she balances elegantly on tiptoe with her arms raised towards the stage light. Around them, a larger ensemble of female and male ballet dancers move in symmetrical formations, all dressed in light, classic costumes in shades of white and blue. In the background, the characteristic building of the Norwegian Opera & Ballet with its sloping roof surfaces and large glass facades is seen, integrated as an artistic part of the scenography. Golden spotlights fall down on the dancers and are reflected in the shiny stage floor. The watercolor's blue, golden and creamy white tones create a calm and poetic atmosphere that highlights the elegance, strength and precision of ballet. The image symbolizes how ballet is the result of human talent, cooperation, discipline and many years of focused training – values that are central to both the performing arts and the project The Invisible Capital.*

The illustration shows a large symphony orchestra painted in warm watercolor tones. In the middle of the picture, the conductor stands facing the musicians with raised arms as the orchestra plays. In the foreground, violinists, viola players, cellists and double bassists sit closely together with music on stands in front of them. Behind the strings, woodwinds, brass, percussion and a harp are seen, arranged as a modern symphony orchestra is usually organized. The musicians are dressed in dark concert attire and follow the conductor with great concentration. On the left, the name "The Norwegian Opera & Ballet" can be seen, while the large glass walls in the background open the room to the Oslo Fjord and the Opera House's characteristic architecture. Golden stage lights are reflected in the instruments and create a warm contrast to the blue watercolor tones. The illustration symbolizes how almost a hundred musicians work as one unified organism, where each individual voice is important, but where the greatest experience arises through the interaction between all. This is a visual story about the invisible capital – the people, the expertise and the cooperation that give life to the music.

Beethoven

The illustration is painted as a detailed watercolor in warm earth tones, blue-gray shades and golden light. In the middle of the image, an expressive portrait of Ludwig van Beethoven dominates, depicted with strong facial features, intense gaze and characteristic silver-gray hair. Around the portrait are several handwritten scores with references to Symphony No. 7, Symphony No. 9 “Ode to Joy” and the Violin Concerto. Floating notes move throughout the composition and tie the various motifs together. At the bottom right, Beethoven conducts a large orchestra in front of a concentrated ensemble of musicians. On the left, a solitary figure stands on a hill and looks out over a landscape where dark clouds and powerful lightning illuminate the sky over a historic city with a dominant cathedral. The contrast between the storm and the warm light around the orchestra symbolizes Beethoven’s dramatic life, his struggle against deafness and the creative power that made him one of classical music’s greatest composers. The watercolor's soft brushstrokes give the motif a timeless and poetic character and highlight the emotional strength of the music.

Ludwig van Beethoven (1770–1827) changed the history of music. Despite losing his hearing, he created some of the world's most significant symphonies and chamber music works – music that still fills concert halls around the world.

Symphony No. 7 and Symphony No. 9 (then all the others too!)
The Violin Concerto

Chopin

The illustration is executed as a detailed watercolor in warm gold, blue, purple and earthy colors. In the middle of the composition, a portrait of Frédéric Chopin dominates with dark wavy hair and a calm, thoughtful gaze turned to the right. Around the portrait are several handwritten scores with references to central works, including Nocturnes op. 9, Ballade no. 1, Polonaises, Etudes, Piano Concerto no. 1, Preludes and Mazurkas. A stream of notes winds through the entire image and ties the various motifs together. At the bottom left is an open grand piano with notes on the music stand, surrounded by flowers that emphasize the poetic mood. In the background are historical buildings and parks that lead thoughts to Warsaw and the Polish cultural landscape. To the right, a solitary figure walks through an avenue, symbolizing the composer's life journey, reflection and longing. The entire illustration expresses the sensitivity, elegance and melancholy of Romantic music, while also showing how Chopin's music still lives on through pianists and concert halls around the world.

Frédéric Chopin (1810–1849) gave the piano a new voice. Through his nocturnes, ballads, preludes and mazurkas, he created music that is still considered among the most beautiful works in the history of Romantic music.

Barcarolle
Piano Sonata No. 2
The Four Ballads

(and just about everything he ever wrote!)

Brahms

Johannes Brahms (1833–1897) built on Beethoven's legacy, creating music of depth, warmth, and timeless beauty. His symphonies and chamber music remain among the most performed works in the world.

The Four Symphonies
The Violin Concerto

Mendelssohn

The illustration is painted as a detailed watercolor in warm gold, blue, and earth tones. In the center of the composition, a portrait of Felix Mendelssohn Bartholdy dominates, with dark curly hair and a calm, friendly expression. Around the portrait are handwritten scores with references to A Midsummer Night's Dream, The Italian Symphony, Lobgesang, and Lieder ohne Worte, works that show the breadth of his musical output. A stream of musical notes meanders through the illustration, tying together the various scenes. On the left, a historic city with bridges, church spires, and a calm river can be glimpsed, while open musical notes, books, and blooming lilacs emphasize the composer's close relationship with art, literature, and nature. At the bottom right, Mendelssohn leads a large orchestra and choir in a concert hall, demonstrating his importance as both a composer and conductor. The watercolor's soft brushstrokes and harmonious color palette reflect his music – light, elegant, and full of melodic richness. The illustration symbolizes how Mendelssohn built a bridge between the classical tradition and the expression of Romanticism, and how his music still lives on through musicians, choirs and orchestras all over the world.

Felix Mendelssohn Bartholdy (1809–1847) combined classical elegance with romantic sensibility. His works are characterized by light, balance, and melodic beauty, and are still regularly performed in concert halls around the world.

The Violin Concerto

Elgar

The illustration is a detailed watercolor in warm golden, beige and blue-gray tones. In the middle of the composition, a portrait of Sir Edward Elgar dominates, with a dark mustache, blond hair and a calm, concentrated gaze. Around the portrait are handwritten scores with references to Pomp and Circumstance March No. 1, Cello Concerto in E minor, Sea Pictures and Enigma Variations, works that represent different aspects of his composing career. At the bottom left are books with the titles The Dream of Gerontius, Enigma Variations and The Music Makers, along with a sheet of music, a fountain pen and white roses that symbolize the composer's artistic legacy. On the left in the background is a peaceful English landscape with a river, bridge and a historic cathedral, while the right side shows a large concert hall where a conductor leads the orchestra during a performance of Elgar's music. Above the orchestra, the British flag flies as a discreet reminder of his importance to English culture and musical history. The watercolor's soft brushstrokes and harmonious color palette create a dignified and timeless atmosphere that reflects Elgar's warm orchestral sound, melodic richness, and strong emotional expression.

Sir Edward Elgar (1857–1934) raised British orchestral music to an international level. Works such as Pomp and Circumstance, Enigma Variations and the Cello Concerto are today considered among the most beloved compositions in the English musical tradition.

Pomp and Circumstance
Enigma Variations
Nimrod

Wagner

The illustration is painted as a detailed watercolor in deep brown tones, warm golds and dark blue-gray shades that create a dramatic and almost mythical atmosphere. In the middle of the composition, a portrait of Richard Wagner dominates with an intense gaze and characteristic sideburns. Around the portrait are handwritten scores with references to The Ring of the Nibelung, Tristan und Isolde, The Mastersingers of Nuremberg, Lohengrin and Parsifal, works that represent the highlights of his opera production. On the left, a knight is seen contemplating a castle on a mountaintop, while an open book with a score, old books, a quill and an inkwell symbolize the composer's creative work. On the right, mythological figures emerge, including a dragon and a warrior with a spear, showing how Wagner drew inspiration from Germanic myths and legends. At the bottom, a conductor leads a large orchestra in front of a packed hall, with notes winding through the entire illustration and tying the motifs together. The watercolor expresses Wagner's vision of opera as a total work in which music, scenography, literature and drama unite into one artistic experience. The illustration also emphasizes his enormous importance for the art of opera, while conveying the epic and adventurous atmosphere that characterizes his works.

Richard Wagner (1813–1883) revolutionized opera through monumental works that fused music, drama, and stagecraft into a single whole. His operas still dominate the repertoire of the world's leading opera houses.

Overtures and preludes

Rossini

The illustration is painted as a detailed watercolor in warm golden, ochre and earthy tones with touches of blue from the sea on the Bay of Naples. In the middle of the composition, a portrait of Gioachino Rossini with dark flowing hair and a friendly, thoughtful gaze dominates. Around the portrait are handwritten scores with references to The Barber of Seville, La Cenerentola, L'Italiana in Algeri, La Gazza Ladra and Stabat Mater, works that show both his comic operas and his church music. On the left, the landscape opens up to the Bay of Naples with Vesuvius in the background, small sailboats and historic Italian architecture. At the bottom are books, sheet music, a quill, inkwell and a classic theater mask that symbolize the dramatic and comic traditions of opera. On the right, a conductor leads a large orchestra in front of a magnificent Italian opera house with richly decorated balconies and an engaged audience. At the top is a scene from The Barber of Seville, emphasizing Rossini's importance as an opera composer. The watercolor conveys the elegance, humor, and musical vitality of the Italian bel canto tradition, while also showing how Rossini's works remain among the most performed operas in the world.

Gioachino Rossini (1792–1868) created some of the most beloved melodies in opera history. With works such as The Barber of Seville and Cinderella, he combined humor, virtuosity, and a melodic lightness that continues to thrill audiences around the world.

Overtures

Opera

Paul was clear when he came to the opera.

He wrote:

"When it comes to opera, I have to put my personal favorite at the top."

Giacomo Puccini

The illustration is executed as a detailed watercolor in warm gold, brown and blue tones. In the middle of the composition, a portrait of Giacomo Puccini with dark hair, a mustache and a calm, serious look dominates. Around the portrait are handwritten scores with references to La Bohème, Tosca, Madama Butterfly, Turandot and Manon Lescaut, works that represent the highlights of his operatic career. On the left, the landscape opens onto an Italian coast with the sea, small sailboats and mountains in the background, while old books, a sheet music manuscript, a fountain pen and an inkwell symbolise the composer's creative work. A white rose in front of the notes emphasises the operas' themes of love, hope and loss. On the right, a conductor leads a large orchestra in front of a magnificent Italian opera house with richly decorated balconies and an engaged audience. Above the orchestra is a scene from La Bohème, reminiscent of Puccini's ability to portray human emotions through music and drama. The watercolor's warm brushstrokes and harmonious composition reflect Puccini's melodic richness and his place as one of the greatest composers in opera history.

Giacomo Puccini (1858–1924) wrote some of the most moving love stories in opera history. Works such as La Bohème, Tosca, Madama Butterfly and Turandot still fill opera stages around the world.

The favorite was:

Tosca by Giacomo Puccini.

He also recommended:

Eugene Onegin by Tchaikovsky.

Ballet

For ballet, he recommended:

The Firebird
Petrushka

by Igor Stravinsky.

And added:

"If you don't like the ballet, you can just close your eyes and listen to the concert."

That perhaps says something about the enthusiasm.

What I discovered along the way

The illustration shows an open music book painted in soft watercolor strokes. From the pages, a large G clef and a stream of notes rise into the air. The note lines wave elegantly through the image as if following an invisible melody, while blue, purple, gold and warm cream watercolor tones flow together and create a dreamy atmosphere. No people are depicted. The entire motif is about music itself – from the written notes on the paper to the living art that arises when musicians interpret and perform the work. The illustration symbolizes the joy of creation, imagination, learning and the invisible connection between composer, musician and audience. It is used as a quiet visual respite between the chapters in the blog series.

Looking back at the list today, it strikes me how well thought out it really was.

Tchaikovsky opened the door.

His music is full of emotion, beautiful melodies and strong contrasts. He became the perfect introduction to classical music.

Then came Beethoven.

The power.

The will.

The man who continued to compose even when his hearing failed.

Then Chopin.

The poet at the piano.

The composer who made the instrument sing.

Then Brahms.

The thoughtful perfectionist who spent almost twenty years daring to write his first symphony.

Mendelssohn taught me elegance.

Elgar taught me dignity.

Wagner opened the door to the dramatic universe of opera.

Rossini reminded me that classical music can also be humor, joy, and the spark of life.

And then came Puccini.

Puccini and Tosca

The illustration shows a large watercolor composition with a young female opera singer in the center, wearing a historically inspired dress in deep burgundy and pink tones. She stands with her hand to her chest and a calm, thoughtful gaze turned upwards, as if she is in the middle of an emotional aria. Around her, several motifs from the world of opera are intertwined. On the left, St. Peter's Basilica and the skyline of Rome bathed in warm evening light over the Tiber River are seen. Below this is a score marked "Tosca" along with a lit candlestick and a rose. On the right, the illustration shows dramatic scenes from the opera's plot, including a church room lit by candles and an intense confrontation between characters in historical costumes. At the bottom right, a lit opera hall with an audience following the performance can be glimpsed. The entire composition is painted in soft watercolor strokes with warm gold, blue, purple and burgundy tones that create a timeless and poetic atmosphere. The image symbolizes how opera unites music, drama, scenography, singing, orchestra and human emotions into one unified artistic experience.

When I later began to explore the operas on the list, I understood why Paul had highlighted Puccini.

Puccini did not write primarily about kings and heroes.

He wrote about people.

About love.

About hope.

About fear.

About jealousy.

About loss.

Perhaps that is why his operas still touch audiences more than a hundred years after they were written.

And among them, Tosca stands in a special position.

Here we find love, art, politics, abuse of power, courage and tragedy combined in one intense story.

It's easy to understand why this became Paul's personal favorite.

The illustration shows a dramatic opera scene painted in warm and soft watercolor tones. In the middle of the stage stands a young soprano with dark wavy hair and an expressive gaze turned upwards. She wears a richly decorated dress in deep burgundy and gold tones, inspired by the costumes from Puccini's opera Tosca. Around her stand several opera singers in historical costumes, all with different facial features, expressions and roles that emphasize the diversity of the ensemble. To the left, a church interior illuminated by candles and a large crucifix can be glimpsed, while the background to the right opens up to Rome's historic skyline in the evening sun. The scene is characterized by warm lights, dramatic shadows and details that create a timeless operatic atmosphere. The watercolor's blue, gold and red shades highlight the contrast between the magnificent stage and the human emotions that are at the center. The illustration symbolizes how opera unites singing, acting, orchestra, set design, costumes and lighting design into one unified artistic experience, created through the collaboration of many people.

Why classical music still matters

One of the things that fascinates me most is that people still fill concert halls to hear music that was written hundreds of years ago.

We live in a digital age.

We have artificial intelligence.

We have streaming services.

We have access to more content than any generation before us.

Yet the music of Tchaikovsky, Beethoven, Wagner and Puccini touches people to this day.

Maybe because music reminds us of something fundamentally human.

Pleasure.

Sorrow.

Love.

Longing.

Hope.

Feelings that haven't changed, even though the world around us has.

Watercolor illustration symbolizing a personal journey into the world of classical music, inspired by the Norwegian Opera & Ballet. A laptop computer displays an email with recommendations on where the journey can begin, while sheet music, scores and names of key composers flow out of the screen, filling the illustration with music. Around the sheet music are a symphony orchestra with conductor, a ballet dancer on stage, an opera singer inspired by Puccini's Tosca, a grand piano, violin and the Opera House in Bjørvika. The illustration symbolizes how one friendly recommendation can open the door to a whole world of classical music, performing arts and human creativity. The image was created as the main illustration for the blog series about classical music, the Norwegian Opera & Ballet and the project The Invisible Capital.

We live off each other's work.

Over the years, I have become increasingly concerned with a simple message:

We live off each other's work.

This applies to business.

This applies to the public sector.

This applies to hospitals.

And that applies to the Opera.

No performance is created by one person.

No great experience is created alone.

Behind the applause there are always people that the audience never sees.

People who, through knowledge, experience, collaboration and trust, make the experience possible.

For me, this is the very core of Invisible Capital.

The illustration shows a large G clef emerging from soft watercolor strokes in blue, purple and golden shades. Several lines of music wave elegantly through the image, creating a fluid movement from left to right. Along the lines of music, notes of various sizes float, while individual notes lift freely into the air, creating the impression of music filling the room. The background consists of light cream-colored watercolor surfaces with subtle color plays and small pigment drops that give the motif a hand-painted expression. The illustration does not contain any people or specific places, but conveys the universal language of music and the feeling of movement, rhythm and harmony that binds composers, musicians and audiences together. The image is used as a quiet artistic break between the chapters in the blog series.

A musical gift

When I look back at the emails from Paul Podolski and Jørn Pedersen today, they are actually about something far bigger than classical music.

They are about people sharing knowledge.

About colleagues who take their time.

About curiosity.

About learning.

About culture that is passed down from person to person.

And perhaps that is precisely why classical music is still alive.

Not because the notes are old.

Not because the works are famous.

But because people continue to share them with each other.

For me, it started with a simple email.

And some colleagues at the Opera who took the time to open the door.

Thank you very much

To all of you who have chosen a life in art and culture.

Many thanks to composers, conductors, musicians, opera singers, ballet dancers, actors, choreographers, scenographers, playwrights and writers.

Many thanks to stage technicians, lighting and sound technicians, props, costume designers, seamstresses, makeup artists, hairdressers, stage managers, producers, administration, marketers, ticket agents, hosts, cleaners and everyone else who works behind the scenes.

Many thanks to artists, illustrators, photographers, filmmakers, librarians, museum curators, cultural workers, festival organizers, cultural schools, choirs, bands, orchestras and all volunteers who make art and cultural life alive – every single day.

You don't just create performances.

You create moments.

You create reflection.

You create joy.

You are creating tears.

You create hope.

You create community.

And you create memories that will follow us throughout our lives.

The value of what you do cannot always be measured in accounts, budgets or visitor numbers.

But it lives on in humans.

It lives in children who experience their first performance.

It lives in youth who find inspiration to create.

It lives in adults who recognize themselves in a story.

It lives on in the elderly who are awakened by memories through music they have never forgotten.

Thank you for enriching our lives.

Thank you for preserving our cultural heritage and at the same time creating new art for future generations.

And thank you for reminding us every day that the most important capital we have is our people.

Thank you very much.

The illustration shows the main hall of the Norwegian Opera & Ballet as seen from the audience area towards the stage. The entire room is done in warm watercolor tones that highlight the characteristic oak walls and balconies. Several floors of audience seats surround the stage, while a large round light fixture floats in the ceiling and spreads a warm light over the hall. The stage curtain is drawn, forming an abstract pattern that hides the evening's scenography. The audience is already seated or in the process of finding their seats, while anticipation builds before the performance begins. No performers are visible yet, but the illustration reminds us that behind the curtain, singers, dancers, musicians, conductors, stage technicians, lighting designers, costume workers, makeup artists and many other professionals work to create the evening's experience. The image expresses the quiet tension just before the orchestra tunes its instruments and the conductor raises the baton – the moment when months of planning and rehearsal will become living performing art. v