Okay, hello, Don and I were there too.
Our $41 seats were also central in the shed,
in row B immediately in back of the
white flexible seating area. Opera-Lers
Gabriel and Judy Stelian and Marilyn Mead
joined us beforehand for a fine dinner
at Candlelight Inn Restaurant, where we compared
notes about Opera-Lers we have met and operas
we have seen and plan to see. In the tent before
the program the five of us met four more Opera-L
listers or lurkers: Peggy and Dick Houdek and
Toby and Karl Hekler. I think it was Toby who
said that it is nice to put faces to names now.
Hello to all of you.
Anyway, I agree with most of what the Hekler's
posted. The opera missed nothing at all by
having no set or costumes, such was the
high caliber of the interpretation. The singers
did plenty of acting, well visible from shed-center.
Where I disagree somewhat is with the characterization
of Ozawa's conducting. To me it was phenomenal rather
than distracting and there was just one brief spot when I
could not hear Voigt above the orchestra. Too, I enjoyed
the seven veils segment. In it I thought the orchestra
spectacular, with so many facets audible all at once
Voigt was not a disappointment and
I was pleasantly surprised by the Herod portrayal by
Riegel, whom I had not enjoyed at all in previous
Salome's, one on video and one live just last year.
Just as the lines about wings flapping were being sung,
some large winged insects fluttered around the platform,
lending some humour or mystique to the performance,
depending on one's state of mind at the time.
A strange thing was the laughter of many in the audience
at various points, for example when Herod asked
Salome to share his apple. Perhaps they watched
on a different level and were reacting to supertitles only.
That's it. Jan Grimaldi at [log in to unmask]