Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10 5/3/83; site olivej.UUCP Path: utzoo!linus!decvax!decwrl!sun!qubix!ios!oliveb!olivej!greg From: greg@olivej.UUCP (Greg Paley) Newsgroups: net.music.classical Subject: Re: S.F. Opera "Elektra" - Performance Review Message-ID: <247@olivej.UUCP> Date: Fri, 9-Nov-84 13:24:53 EST Article-I.D.: olivej.247 Posted: Fri Nov 9 13:24:53 1984 Date-Received: Sun, 11-Nov-84 19:49:39 EST References: <244@olivej.UUCP> <1161@Cascade.ARPA> Organization: Olivetti ATC, Cupertino, Ca Lines: 58 As to my review being "strange" and disagreeing with everyone else Paul Asente talked to, I can only respond that I reported what I heard and saw, as I perceived it. No two people hearing the same performance are going to be looking (or listening) for exactly the same things. I try not to allow my own responses to a performance to be colored by the opinions of the rest of the audience. I admit unhesitantly that my primary concern at the opera is the musical realization and the dramatic expression as realized through the musical interpretation. I've gotten so accustomed to ridiculous stage action that, unless it goes to the point of blocking the musical interpretation (as happens when singers are forced to perform moves that actually inhibit their singing or the musical ensemble), I tend to ignore it. For this reason, I can fully enjoy such things as Verdi's "Nabucco" and "Il Trovatore" despite the absurdity of the plot and stage action. Paul is absolutely correct about the "strange arm movements". These struck me as clearly trying to emulate the classic poses I've seen in filmed performances of (non-operatic) Greek tragedy. Rather than convincing or overwhelming, they seemed obviously "put on" to the performers, rather than arising spontaneously as good stage action should. As to the orchestra, do be sure that we are discussing the same performance. I've since had opportunity to talk with several members of the orchestra who confirmed that there was a definite variance between individual performances and at least one maintained that the pacing and ensemble of the Sunday matinee was superior to earlier performances. I still maintain that the conducting and playing were miles ahead of what I've generally heard at the S.F. Opera. I haven't been able to see the filmed Elektra. Having seen Rysanek in a number of performances over the last 15 years and hearing recordings dating back to the early 50's, I know her to be a singing actress of extraordinary power. I have no doubt that, though her voice is very different from, say, Nilsson at her peak, she would be able to generate an equivalent vocal excitement as well as providing even greater dramatic intensity. BUT she has never, to my knowledge, sung the part on stage and has no intention of doing so. To me, this disqualifies a comparison, just as one cannot compare Teresa Stratas' filmed performance of "Salome" with any stage performance. Rysanek, when at her best (such as the few 1973 performances in which she substituted for Marita Napier in San Francisco) was the best Chrysothemis I've seen. As to mine being the strangest review Paul has read, I realize it was by no means intended as a compliment but I am in a way flattered. I have no desire the mimic the type of criticism I've read in the local journals or hi-fi magazine, nor do I have any interest in mirroring somebody else's opinions. - Greg Paley