Using Cue Tracks in Opera Productions
Introduction
Performing opera with a live orchestra is always the ideal. However, for many companies, especially smaller or independent troupes, engaging a full orchestra is not always financially possible. In such cases, a prerecorded orchestra can make it possible to stage a production that might otherwise remain out of reach.
Working with a prerecorded track brings its own challenges. Opera is full of tempo changes, rubato, fermatas, and cadenzas where singers take expressive freedom. Keeping everyone together under these conditions requires careful planning. One of the most effective solutions is the use of a cue track.
What is a cue track?
A cue track is a separate audio track that provides timing guidance to performers and the production team. It is not heard by the audience, but only by those who need it on stage or behind the scenes.
Cue tracks are common in pop concerts, film music, and musical theater, but they are less familiar in the opera world. In essence, the cue track acts like a silent conductor: it helps singers, directors, and stage staff stay in sync with the prerecorded orchestra.
Why cue tracks are helpful
Opera performances often involve flexible timing, such as:
- Passages with rubato or tempo shifts
- Long fermatas that need a coordinated release
- Cadenzas where the singer performs freely before the orchestra re-enters
With a live orchestra, the conductor manages these moments in real time. With a recording, the timing is fixed — which makes it more difficult for singers and stage action to align naturally.
A cue track solves this problem by giving clear signals, so that performers can remain expressive without fear of losing the orchestra.
Different forms of cue tracks
Cue tracks can take different shapes depending on the needs of the production:
- Click track: A steady metronome pulse that marks the tempo. This is most helpful in regular, rhythmically steady sections.
- Spoken cues: Short verbal instructions such as “orchestra enters in three…two…one” or “next phrase coming up.” These are useful for entrances after cadenzas or pauses.
- Combination: Some productions use a mix of clicks and spoken cues, depending on the musical passage.
These cues are never heard by the audience. They are only there to support the performers and crew.
How cue tracks are used in practice
A cue track is usually fed to headphones, in-ear monitors, or a conductor’s earpiece. Sometimes only the conductor hears it and then guides the singers. In other cases, singers or stage managers may also need to hear the cues directly.
The key is that the cues provide coordination without interfering with the artistic flow of the performance.
Handling pauses and audience applause
One unique challenge when performing with a prerecorded orchestra is managing pauses that depend on the audience. After a big aria or ensemble, the length of applause can vary widely — sometimes lasting much longer than expected, and sometimes being surprisingly brief. A fixed-length silence in the recording will rarely match these moments naturally.
The most practical solution is to keep the prerecorded pauses between numbers quite short and allow the sound operator to pause playback until it is time to continue. This way, the performance can resume at the right moment, whether the applause is short or long, without creating awkward gaps or cutting the audience short.
This approach gives the production team the necessary flexibility to respond to the live atmosphere of the performance, while still staying in sync with the prerecorded orchestra.
Who creates the cue track?
Cue tracks are normally prepared by the production team — typically by a sound engineer, music director, or someone with experience in theater or film sound. Creating them requires both musical knowledge (to know where cues are needed) and technical skills.
If your team has not worked with cue tracks before, it is usually best to consult someone who has experience with live sound for theater or film music. They will be able to create a system that fits the needs of your particular production.
Recommendations and best practices
- Allow extra rehearsal time for performers to become comfortable with the prerecorded orchestra and cue system.
- Decide carefully who needs to hear the cues (conductor, singers, stage staff).
- Keep cues simple and unobtrusive so they don't distract, but guide.
- Treat the cue track as a supportive tool, not as a constraint.
Conclusion
While unusual in the opera world, cue tracks can make it possible to stage full productions with a prerecorded orchestra in a professional and artistically satisfying way. They provide security, clarity, and coordination — allowing performers to concentrate on expression rather than worrying about staying in sync.
If your company is considering staging an opera using my orchestral recordings, introducing a cue track system can make the difference between a stressful experience and a confident, polished performance.