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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