TRANS · núm. 23 · 2019 ARTÍCULOS · 245-256 This article describes the challenges faced by a team of audio describers to take existing access services at Liceu Opera House in Barcelona to a new level by offering more access services, more features to personalise, and in various languages. The first part of the article will describe Liceu existing access services. The second part will analyse, on the basis of tests with end users performed in 2014 and 2015 by UAB and RNIB, the possibilities offered by wireless connections and the many challenges of the new mobile opportunities. key words: media accessibility, audiovisual translation, audio description, audio subtitling, opera. Opera accessibility in the 21st century: new services, new possibilities* La ópera accesible del siglo xxi: nuevos servicios, nuevas posibilidades Pilar Orero, Joan Bestard, Miquel El presente artículo describe los retos a los que se ha Edo, Gonzalo Iturregui-Gallardo, enfrentado un equipo de audiodescriptores al recibir el Anna Matamala, Iris C. Permuy encargo de incrementar y mejorar los servicios de acce- Hércules de Solás sibilidad en el Gran Teatre del Liceu, añadiendo nuevos Universitat Autònoma de Barcelona mecanismos que personalicen cada servicio y ofreciéndo- los en varios idiomas. La primera parte del artículo describe los servicios preexistentes en dicho teatro. La segunda parte analiza las posibilidades que ofrecen las conexiones inalámbricas y los móviles de última generación tomando * This article has been partly funded by the projects RAD (PGC2018-096566-B-100 (MICINN/FEDER, UE)), como referentes estudios llevados a cabo con usuarios ACT (2015-1-ES01-KA2013-015734) and ADLAB PRO finales en 2014-2015 por parte de la UAB y RNIB. (2016-1-IT02-KA203-024311). All authors are members palabras clave: accesibilidad a los medios audiovisuales, of TransMedia Catalonia (2017SGR113), a research group traducción audiovisual, audiodescripción, audiosubtitula- funded by the «Secretaria d’Universitats i Recerca» (Gen- do, opera. eralitat de Catalunya). P. ORERO, J. BESTARD, M. EDO, G. ITURREGUI-GALLARDO, A. MATAMALA, I. C. PERMUY HÉRCULES DE SOLÁS TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 INTRODUCTION a new mixed public/private funding with new social responsibilities. In the last century technology was enjoyed in The technology in the new Liceu included 246 a fixed location. You had to be in a place near the subtitling system Figaro that allows every a socket to speak over the phone, you had to seat in the theatre to follow the libretto in Cat- watch TV next to the electric plug and the alan, English or Spanish. Surtitles and subtitles aerial, you had to listen to an audio description catering for linguistic accessibility opened the (AD) next to a jack and at a certain range from door to new accessibility services, which have the audio describer. In this century, wireless been implemented progressively. The Barcelona connection has freed us from the fixed loca- Liceu has at its core a public wishing to under- tion. Technology is no longer determining stand the content of the opera, according to where, when and how we access the services Mateo, 2007: 137): and their content. Accessibility functionalities are no longer included in specific devices for «If, not many years ago, opera goers assumed persons with disabilities but are integrated in non-comprehension as part of this experience (unless they knew the pieces by heart — which standard devices. Humans now decide, and it was not uncommon — or studied the libretto is up to all stakeholders in opera production to before the performance), today’s audiences ensure accessibility and to optimise resources. show a desire to understand the verbal text The Gran Teatre del Liceu is the great Cat- at the same time as they receive the music[.]» alan opera house. It opened on 4th April 1847. It is important to understand the background Although linguistic accessibility is now an history of one of the largest European opera established service, more services are required houses. In its most popular times, it reached the to make opera an inclusive cultural perfor- number of 3000 seats and was the biggest in mance. This article aims to present how opera Europe. The Liceu was funded by private share- accessibility has been approached at Liceu, the holders of what would become the Societat del role of research in providing these new services, Gran Teatre del Liceu (Great Liceu Theatre and the challenges and opportunities of new Society), organised in a way similar to that of mobile technologies. a trading company. The Liceu building has been under constant renovation. The latest took OPERA ACCESSIBILITY IN 20th CENTURY place between 1994-1999 due to a fire caused by a spark that accidentally fell on the curtain dur- The Barcelona opera house has followed an ing a routine repair. In 1999 the Liceu opened active policy on accessibility by increasing its with the same traditional horseshoe-shaped services. Opera multilingual subtitling has auditorium as before but with greatly improved been present in most opera houses in Europe technical facilities. The new Liceu had also a (Griesel, 2005; Mateo, 2007a, 2007b; Oncins, new participation. Fundació del Gran Teatre 2015) and still is. Some opera houses have also del Liceu (Liceu Great Theater Foundation) increased the accessibility offer to AD (Mata- was created, and the Societat del Gran Teatre mala & Orero, 2007; Miquel-Iriarte et al., 2012; del Liceu handed over the ownership of the Oncins et al., 2012). Liceu has had an active building to the Foundation. This allowed for social policy, and even before the adoption of TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 OPERA ACCESSIBILITY IN THE 21ST CENTURY: NEW SERVICES, NEW POSSIBILITIES the Convention on the Rights of Persons with Disabilities (CRPD) by UN where accessibility to cultural events is considered a human right (United Nations, n.d.). Liceu’s approach is also 247 in line with later legislation such as the Audio- visual Services Media Directive (European Commission, in press), which could be regarded as the EU response to the CRDP, and the local Catalan Accessibility Act (Llei 13/2014, del 30 d’octubre, 2014) (Catalan Government, 2014). At Liceu, subtitles and surtitles are created and delivered from a purpose built booth as can Figure 1. Subtitling booth be seen in Figure 1 below. Subtitles are project- ed by a person every night following the music score, not a given time code. This is due to the fact that every night the performance can vary, and synchronised subtitles are a must. At present, Liceu offers subtitles in English, Catalan, and Spanish, with surtitles in Catalan, placed at the top of the proscenium, as can be seen in Figure 2. Multilingual subtitling is possible thanks to the screens included in the rebuilding after the 1994 fire. Two different types of screens, TFT and TXT, were built in the seats as can be seen Figure 2. Surtitles in Catalan in Figure 3: TFT as a TV (image and subtitle) and TXT (only with text). TFT screens for seats in the first row TFT screens for rest of seats with view to the stage TV with subtitles for seats with reduced view Figure 3. Different tft screens: the f irst for text only P. ORERO, J. BESTARD, M. EDO, G. ITURREGUI-GALLARDO, A. MATAMALA, I. C. PERMUY HÉRCULES DE SOLÁS TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 In the 2005-06 season, the Liceu started the tling were that with only an audio description new AD service. First, the two largest blind of the visuals, blind and visually impaired associations in Catalonia produced the services: audiences missed an important part of any 248 ONCE and Associació Catalana de Discapaci- opera: the written surtitles were provided as a tats Visuals (ACDV). This arrangement meant translation of the sung part. Previous to testing that one opera was audio described twice, by audio subtitles, this written content was either two different describers, and delivered live ignored or only briefly summarised by the twice. Members of each association attended audio describer, thus relying on the linguistic separate performances to listen to the AD . knowledge of the blind and visually impaired This duplication was terminated by Liceu in audience. the 2006-07 season, where a team from the In the test with Donizetti’s Roberto Devereux, Faculty of Translation at Universitat Autònoma audio subtitles were read by a human describer de Barcelona (TransMedia Catalonia research in addition to AD and, despite many suggest- group) signed a memorandum of understand- ing that the effect of hearing the voice of the ing to provide this service, and to take the describer on top of the opera singing would opportunity to do research (Matamala, 2005, not be welcome, the results of the satisfaction 2007; Matamala & Orero, 2007; Orero, 2007; questionnaires showed that end users were very Orero & Matamala, 2007; Cabeza-Cáceres & happy with this new service. Most blind and Matamala, 2008; Puigdomènech et al., 2008; partially sighted end users were not aware of the Puigdomènech et al., 2010; Cabeza-Cáceres, subtitling service at Liceu, so they missed the 2010; Corral & Lladó, 2011; Miquel-Iriarte et al., text of the lyrics. They did not know they could 2010; Oncins et al., 2012). enjoy the translation of what was being sung This research approach allowed TransMedia into their language. After this opera, a new AD Catalonia and Liceu to start testing new ser- style (Puigdomènech et al., 2010) was taken into vices and strategies linked to AD. A remarkable consideration for Liceu, including audio sub- example is opera audio subtitling. titles next to AD. It must be highlighted that, apart from giving access to the subtitles to blind First tests on opera audio subtitling and partially sighted audiences, audio subtitling In 2005 the Liceu offered the first opera with has many other advantages for opera. It miti- AD and audio subtitling in Catalan (Orero, gates the split attention effect of looking at one 2007). Audio subtitles are defined by ISO / screen for the subtitles while the action takes IEC 20071-25 (ISO & IEC, 2017) as “captions/ place in a different view range. It also offers subtitles that are read aloud over the audio in voiced subtitles for those with reading issues. A a video.” This is a common access service in final advantage is that it may be delivered by a some European subtitling countries such as synthetic voice, because a written input can be the Netherlands, Norway or Sweden, where easily converted into speech by a text-to-speech regulation establishes that all television pro- system. While this was opposed by end users a grammes need to be audio subtitled. The first few years ago due to the quality of the speech, audio subtitling test in Liceu was an orchestra these days is fully acceptable (Fernández-Torné version of Donizetti’s Roberto Devereux. The & Matamala, 2016), although it is yet to be reasons for developing tests on audio subti- implemented at Liceu. TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 OPERA ACCESSIBILITY IN THE 21ST CENTURY: NEW SERVICES, NEW POSSIBILITIES New access services for diverse audiences is drafted and delivered only one night, a very ephemeral event that does not allow end users More access services have been implemented to attend the performance of their choice. recently since Liceu looked at ways to improve Another problem is that only seats in the 249 sound reception. An induction loop which gods have a jack to be connected to the TFT reduces background sound and augments intel- screen with image (see Figure 3). This means ligibility was installed in July 2014. This new that end users have to be seated in some pre-es- service has been installed to all areas of Liceu tablished seats with hardly any vision. While except for the gods (5th floor). The reason for one may wonder why a vision seat is needed for this is the lack of physical space on the floor to blind audiences, the fact is that within the blind wire the area and the narrow disposition of the audience there is a wide spectrum of conditions. seating area. Some persons with low vision can access features The last access service implemented at Liceu such as colour, which may help them follow the was in the 2015-16 season: easy reading was performance. Additionally, blind and partially adopted. All signals were changed and now- sighted persons may be going to the opera with adays the programme and other information sighted friends and relatives and, needless to such as the opera synopsis are always offered in say, they may want to seat in another part of the easy reading, both in Catalan and Spanish, on theatre, according to preference and financial the opera website. possibilities to purchase seats. Therefore, daily On 18th July 2015, the first attempt to offer access to content and freedom for seat location opera subtitles with mobile technology started are two expectations the Liceu wanted to meet. in one opera: Verdi’s La Traviata. This opera With the new financial situation, the pos- started the “Liceu a la Fresca” campaign (Gran sibility of opening a dedicated AD service to Teatre del Liceu, n.d.), where opera is projected offer AD in the same conditions as subtitles in open air at night in the summer in different was out of the question. An architecture action locations so as to reach a wider audience all over would have to take place to accommodate the the country. This is the departure point for the AD booth, and new personnel would have to new challenge of the current century: providing be employed. The focus was, then, moved from all access services in all productions in three making the environment accessible with the different languages. aid of the services of AD and audio subtitling mentioned in previous paragraphs, to the hands 21st REQUIREMENTS AND EXPECTATIONS of the users. In such context, technology came to the rescue, and mobile technology was seen The progressive accessibility policy at Liceu as the solution, providing autonomy and more has built up end users’ expectations, who now choice to the end user. expect to have a normalised access to the many performances. Up to now, audio descriptions MOBILE TECHNICAL SOLUTIONS AND with audio subtitles were offered only in six SHORTCOMINGS operas and only for one performance. The relationship between cost and exploitation is The technological advance was sought in the imbalanced because at present one AD script use of smartphones. This device has shown to P. ORERO, J. BESTARD, M. EDO, G. ITURREGUI-GALLARDO, A. MATAMALA, I. C. PERMUY HÉRCULES DE SOLÁS TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 fulfil the needs of very diverse people. In this Teatre Liceu in Barcelona and La Monnaie in case, people with specific needs, being linguistic, Brussels. Another interesting piece of surti- sensory or both, may find in smartphones the tling software is Opera Voice, which has been 250 solution required to solve all the different needs developed to make use of new smartphone and provide an inclusive access to the operatic platforms and is currently being tested at the Maggio Musicale Theatre in Florence[.] event. The implementation of a mobile app was based on previous experiences in the field of This study was published in 2012, and by 2016 accessibility to live cultural events. The follow- no further academic literature, with the excep- ing subsections offer an overview of different tion of Walczak (2017), can be found regarding tests related to mobile technical solutions. application of mobile technology in opera houses, and the previous tests in Florence. Be Live accessibility production and distribution as it may, it seems subtitling and its technol- Although not related to opera, at Universitat ogy is now mature and can be sent over wire- Autònoma de Barcelona (UAB) a live acces- less technology with no technological issues. sibility production and distribution system Regarding subtitle and AD mobile distribution, was developed: UAS (Oncins et al., 2012). This tests with end users on recorded productions system allowed UAB to implement an active were performed in 2014 by Universitat Autòno- and integrated accessibility policy, whereby live ma de Barcelona (UAB, n.d.) and in 2015 by subtitles, AD and sign language were offered RNIB, providing relevant insights to be taken in the main academic events: opening of the into account when implementing mobile access academic year and Honoris Causa ceremonies. services in opera. While the system was rudimentary, it offered In Barcelona, Quality of Service tests were the possibility of starting an accessible cinema performed with 19 blind or low sighted and 15 season (UAB, n.d.), but more importantly, it deaf and hard of hearing users during the Sitges gave a large experience in the main issue pres- Film Festival 2014 (Europa Press Catalunya, n.d.) ent when offering live services through mobile the first week of October 2014. In the UK, RNIB technology: synchronisation. launched a three-month user trial in February Focusing on opera, Oncins (2012) studied the 2015 with television content in video on demand different subtitle possibilities according to sub- services (Rai, 2015). The aim of these tests and title editors. There are many editors, and while user trials was to gather views and feedback on Microsoft Power Point is not one, it is often the use of app-based AD delivery system. chosen since it is seen as the cheapest solution Tests were performed in two different apps: (Vervecken, 2012: 248) and also allows ‘flexibil- Moviereading (http://moviereading.com) in ity in the amount of text and number of lines the UK and ArtAccéss (http://sdos.es) in Cata- and characters’ (Mateo, 2007a: 142). After her lonia. Nowadays most European countries have thorough research, Oncins (2012: 56) concludes: developed their own app such as Watson in The Netherlands (http://watsonapp.nl), Greta For opera, the most popular surtitling soft- und Starks in Germany (Gretaundstarks.de) or ware titles are Figaro and Vicom. Figaro Cybercom in Sweden (http://cybercom.com). is currently being used at the Royal Opera Though each app is different, they broadly have House in London and Vicom at the Gran the following features: TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 OPERA ACCESSIBILITY IN THE 21ST CENTURY: NEW SERVICES, NEW POSSIBILITIES 251 Figure 4. Sequential screens for ArtAccéss Application • Download, store, and play AD. observed that the app could be improved as • Synchronise at any time during the play, follows (Rai, 2015: 13): through different technologies such as fin- gerprinting or sound stamp. • The app functionality could be improved if, once the film/TV content was selected and The apps pick up the movie soundtrack started, the app pulled the related AD track using the smartphone’s microphone and then from the library within the app, downloaded synchronise it with the AD at the required it to the phone/tablet or streamed the AD moment. The AD soundtrack is downloaded track after identifying the exact point in the from a dedicated server. Navigation screens playout. also change but they have similar features, • For the navigation it was considered that as can be seen in Figure 4, which reproduces adding a search field within the app would snapshots of the application ArtAccés. simplify the process of looking for a title. • One of the recommendations was to auto- End user requirements matically turn on the airplane mode when While feedback in both tests was positive, the app was opened on the device to avoid mostly for AD users, the following conclusions receiving calls and disrupting the viewing were reached. For the tests in the UK, it was experience. P. ORERO, J. BESTARD, M. EDO, G. ITURREGUI-GALLARDO, A. MATAMALA, I. C. PERMUY HÉRCULES DE SOLÁS TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 • Specific training sessions to use the app should be provided on an individual basis and an in-depth user manual should also be 252 made available to users. • Reporting of bugs should be made easier. For the tests in Barcelona (Walczak, 2017), where usability was tested through the System Usability Scale, and utility and quality of ser- vice through Likert-scale questionnaires, the overall results also showed great potential. End users were quite enthusiastic about the app, but they also offered the following suggestions to improve it: • The participants unanimously agreed that the quality of the sound was very good, but the volume of AD was definitely too low. Most of them had difficulties with hearing the AD track, so further improvements in sound mix and volume were suggested. • The AD track should not be put in stereo mode as the blind and partially sighted viewers use only one earplug for listening to it because they have to follow the original soundtrack of the film played in the movie theatre. • Regarding synchronisation, participants said that once synchronised, the AD track went faultless. However, some participants clai- med it was difficult for them to synchronise the file at the very beginning. As they stated, it lacked a signal or instruction to start the AD track. • Although participants downloaded and used the application on their own and did not request any technical support, they claimed that the interface was a bit too complex for them. For some, it was uneasy to navigate the application as the commands were quite Figure 5. Two examples of typography issues solved confusing and they did not know what to TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 OPERA ACCESSIBILITY IN THE 21ST CENTURY: NEW SERVICES, NEW POSSIBILITIES press, whereas others complained about the another, to availability of a robust Wi-Fi signal buttons arrangements, claiming they were is the basic step from where to start the service. too close to each other. Taking into account the lessons learnt from previous research, Liceu has decided to adopt 253 The last recommendations by end users high- the possibility of offering semi-automated light a critical feature: how to access the access access services in all performances in three lan- services and how to interact with the interface. guages. The system is being developed within Indeed, both the graphic design and user-app the new Liceu scheme Barcelona Opera Access interaction are crucial, and end users claim sim- funded by Vodafone. Through a mobile app plified applications that can be operated more subtitles, AD, and audio subtitles in three lan- quickly and efficiently. guages are on offer. End user feed-back was transmitted in the A key challenge has been the AD synchroni- form of user requirements to the app develop- sation, and the solution has been found linking ers. Appropriate changes were made to the app, it to another access service: subtitling. As previ- and no second round of testing took place. The ously said, live performances of the same opera reply from developers was to call for a joint may vary one from the other. Singers may for- meeting to explain what had been implemented get lines and the audience may react differently: and what they considered that was beyond the whilst on one performance the audience may scope of their contract. As can be seen in Figure clap enthusiastically and request an encore with 5, the word durada primera p… are split and no programmed interruptions, the following aligned to the left. Also, the font used is a serif. night the audience may whistle to show rejec- These small changes were implemented regard- tion. Regarding subtitling, these and other live ing typography and navigation. All other issues unpredicted situations can only be dealt with a were left pending for future developments. professional being present, navigating through the list of subtitles and choosing the right text THE LICEU APPROACH: HOW TO OVERCOME and the right time. SYNCHRONISATION CHALLENGES As far as AD is concerned, it is generally delivered when there is no singing, that is no While mobile access service delivery is a real- subtitles, hence the synchronisation of AD ity for recorded media as the ones described with subtitles was seen as a logical develop- before, such as television or cinema, solutions ment. Therefore, the Liceu workflow works have to be found for live synchronisation. A with two different teams. The subtitling team first difficulty is to set up the wireless connec- produces their subtitles as they always do, but tion for the mobile distribution of access ser- the files are uploaded to a platform for its vices. To install Wi-Fi connection in a closed distribution. A dedicated subtitler through area, from where over 2000 end terminals keyboard pulses projects each subtitle during (mobile phones) may connect concurrently is in the performance. These subtitles are sent to itself a challenge. Another issue to consider is the screen above the proscenium, to the TFT the fact that some opera houses may have cop- screens on the seats and also to the end user yright restrictions, or Internet inhibitors may mobile terminal. In the same platform, the AD be installed for piracy protection. One way or team has uploaded the sound files, with the P. ORERO, J. BESTARD, M. EDO, G. ITURREGUI-GALLARDO, A. MATAMALA, I. C. PERMUY HÉRCULES DE SOLÁS TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 audio descriptions in three languages. These CONCLUSIONS sound files have been previously created by an audio describer using an AD editor that allows It is a truth that with the development of new 254 also for AD recording. The sound files are syn- technologies in recent decades, new devices chronised at the end of certain subtitles: in this and systems have profoundly helped increasing way, one single operator offers both AD and the presence of media accessibility services. subtitles in three languages. The presence of subtitles for the deaf and the Using this system, end users can access: (a) hard of hearing or regular audio described the sound files with the AD, and (b) the sub- audiovisual contents for the blind and visually title files that can be either read or reproduced impaired on TV and cinema is now a reality through mobile phone voice-over capability. in many countries. Nevertheless, there is still a In other words, they can be accessed as textual very long way to go when it comes to live stage elements or as audio elements, catering for the performances. needs of a wide array of end users. Still, what The difficulty here is the use of new devices seems a neat, easy and inclusive solution has that are meant to automatise a service that is, in many hitches and merits further research. Just fact, live performed, namely it is always subject to provide one example, in some operas the to changes and variations. In opera houses the singer may repeat a chorus or a line several application of subtitles is performed with the times. This repetition is sometimes used for aid of subtitling programs but instructions and the audio describer to offer visual information. monitoring have to be managed by a person. AD This is often the case in contemporary opera is still fully performed by a live audio describer, adaptations, when the libretto is adapted with a fact that limits the autonomy of the visually no recitatives, and the performance is almost impaired, constrained to attend the opera on a 100% singing. In these instances the neat solu- particular session and be seated in specific areas tion of a subtitle being used to cue the AD may of the theatre. lead to a synchronisation mistake. Additional- Current systems and devices must overcome ly, including AD units over repetitive segments existing obstacles and reach a new phase aimed may also clash with access services other than at the entire autonomy of people with sensory automated audio subtitling. Attention should impairments in general. Smartphones, whose also be paid when a much-loved musical piece presence and use has become almost obligato- is sung or played in order to avoid AD. If end ry, could become the devices that will render users activate the voice-over capabilities of accessible any kind of standard audiovisual their mobile phones so that subtitles are read content. The most remarkable advantage is that aloud, AD cannot be understood simultane- the adaptation happens in the end users’ hands, ously. A solution will have to be researched in this means that any person, regardless of their this regard, and it may be found in an already sensory limitations, will be able to enjoy and existing service such as audio introductions. participate in all live performances/events. This is just an example of the many research Finally, the semi-automatisation of the AD possibilities that emerge from implementing service will open a brand new world of pos- mobile technology in providing access to live sibilities, both with research and commercial events. purposes. A product that was conceived and TRANS. REVISTA DE TRADUCTOLOGÍA 23, 2019 OPERA ACCESSIBILITY IN THE 21ST CENTURY: NEW SERVICES, NEW POSSIBILITIES prepared for a specific occasion is now recorded European Commission: «Commission proposes and preserved, thus, reducing its useless repro- to make products and services more accessible to duction and allowing for deeper analysis. 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