When somebody says the word “opera,” the image that probably comes to mind is a fat lady with horns screaming in some indecipherable language. Probably something you wouldn’t go see on a Friday night.

The American Opera Theater (AOT) is aiming to change that perception by re-invigorating opera and appealing to the trendy college crowd. A major part of this process is occurring through their new three-year partnership with the Georgetown University Program in the Performing Arts. The Baltimore based professional theater company will be opening each of the three shows that make up their 2007-2008 season at the Gonda Theater, beginning this Fri., Sept. 7, with the premiere of “Ground.”

“Ground,” the premiere performance of AOT’s residency at Georgetown takes the music of conventional 17th century operas and adds modern staging. It is a combination of arias, or solos, and duets from various operas that, when put together, create a new story of modern relationships. In music, a “ground” is a repeating baseline pattern or theme, and this idea is where the opera gets its name. The story tells of two people who meet, fall in love and create a life together, and throughout their journey is the “ground,” the repeating element, both in the musical sense and in a metaphorical sense. The cast is comprised of three musicians and two singers, who perform a variety of movements that don’t necessarily reflect the lyrics they sing. The entire opera is sung in Italian, but don’t expect any help with translation. The surtitles, traditionally used to help the audience understand the plot, while still an integral part of the show, are used in a more unique fashion. For example, only one italian word is used to convey the teme of a particular scene.

The set was simple, with only a large white wall on stage left for decoration. The singers, Brian Cummings and Elizabeth Baber, were also clothed in white, allowing for the audience to focus on the acting and singing. Their strong movements and clear, pure voices command the stage, and the emotion is visible in their faces and bodies. The music is beautiful and holds your attention even if you aren’t able to understand the plot — or lack thereof.

AOT’s residency here at Georgetown coincides with the development of a new undergraduate major in the theater department, american music culture, which looks at how music functions in modern culture and how its meaning and context can change. AOT, whose works aim to communicate that same message, was brought in to help support the major. And for Georgetown’s theater department and the AOT, the benefits go both ways.

AOT, artistic director Tim Nelson said, “it was a no-brainer” to come to Georgetown. Nelson said that since the company wants to move beyond being a regional theater, the move to Washington, D.C., gives the group a national scope. At the same time, he said, it provides great opportunities for Georgetown students because for a week after the show opens, the performers will be on campus teaching master classes for students.

AOT is different from most traditional opera companies in that it places emphasis on not only the music of a piece, but also the acting and dance aspects. Its operas bear more resemblance to a typical theater piece, rather than a stereotypical opera.

AOT’s goal, Nelson says, is “to make opera less removed from the everyday.” This means adding the more accessible and familiar elements of the performing arts, such as dancing and acting, which creates the total experience for the audience.

Nelson believes that “theater should be adventure” and the AOT’s unconventional productions reflect that belief. AOT is in its third year of existence and is comprised of 15 to 20 singers, plus other members who serve as directors and designers. The majority of the company is under 30 years old, which accounts for, as Nelson puts it “the un-jaded, young perspective,” which is so important for the art they create and the performances they produce.