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Subject: Re: Parsifal 2/23/18
From: Jean Scarr <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Wed, 28 Feb 2018 10:13:38 -0500
Content-Type:text/plain
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My seat was in row B center Dress Circle.  Never have had a problem hearing Mr.Pape before.  Jean
 
 
-----Original Message-----
From: donald kane <[log in to unmask]>
To: OPERA-L <[log in to unmask]>
Sent: Tue, Feb 27, 2018 1:59 pm
Subject: Re: Parsifal 2/23/18

This is the sad truth about most of the Met orchestra seats.  It's
wonderful to sit
close to the stage and really see what's going on, but the balance between
voices and orchestra has always been better upstairs.  The place is just too
big; no matter where I have sat, starting with the first season, I have
always
been disappointed when a performance began, at the low volume coming from
both pit and stage; it takes getting used to, but when you do, you
experience
the reality of true dynamic range.  The sound of the chorus can be
thunderous,
something that is always supressed via radio, TV, HD, or recording..

dtmk

On Tue, Feb 27, 2018 at 1:32 PM, Kathy Boyce <[log in to unmask]> wrote:

> I was sitting in the balcony on Friday night, and had no trouble hearing
> Pape or anyone else.  I have sat in the front rows of the orchestra from
> time to time, and the balance between the singers and orchestra is
> problematic from those rows, and I seldom sit there. From my balcony seat I
> could see perfectly well, and the sound was sublime.  I am sorry I can't be
> there tonight to hear it, and see it again.  I find this to be a beautiful,
> sensitive production.
>
>
>
> On 2/27/18 12:54 PM, Andrew Moravcsik wrote:
>
>> This seems an odd reaction to me, given what I heard in the house.
>> Perhaps someone is twisting dials. I thought it was in most respects one of
>> softer (perhaps the softest) live PARSIFAL I have ever heard. I agree that
>> Pape was often inaudible--for example in parts of the Karfreitag scene,
>> when he was inexplicably sent way upstage--but that is on him, not the
>> conductor. At that point, YNS had them as soft as such an orchestra could
>> be and you still could not hear him from Row H. For 10 years now he has not
>> had the strength of voice in this type of role that he had before. And he
>> was never like Moll, Talvela et al.--a different type of voice.
>>
>> Andy Moravcsik
>> Princeton, NJ
>>
>> -----Original Message-----
>> From: Discussion of opera and related issues [mailto:
>> [log in to unmask]] On Behalf Of Jean Scarr
>> Sent: Tuesday, February 27, 2018 11:17
>> To: [log in to unmask]
>> Subject: Parsifal 2/23/18
>>
>> I listened to the opening night stream and also the Saturday matinee
>> broadcast  . I commented on the production as I remembered it five years
>> ago. I said that I would write a few words about the musical side of things
>> after I saw the performance in the house. I attended the Feb. 23
>> performance.
>>
>> I know I am going against the grain, but I found that YNS failed to grasp
>> the delicacy of the score.  I have heard many performances of this work at
>> the Met.  This one by far was the loudest in Acts One and Three.  Only the
>> "non-transformation" scenes require a certain amount of bombast, which the
>> orchestra played brilliantly.  Most of the underlying score in these two
>> acts are so ethereal, soft, magical, and truly beautiful. Because of the
>> heavy handed approach, we lost most of the voice of Rene Pape.  I have
>> heard this great bass sing at the Met many times.  He may have been ill,
>> but the voice was drowned in the orchestral playing. I sensed that perhaps
>> he decided not to compete with the pit. So, as Gurnamanz goes, so goes the
>> opera! Kudos to the other male singers.  I continue to dislike Act Two with
>> all the blood, and I felt that the stage was even darker than it was five
>> years ago during acts One and Three.
>>
>> Regardless of the musical interpretation and a problematic production,
>> "Parsifal" is a transforming experience which I am happy I was able to
>> attend.  The following night I saw my first "Semiramide" with a substitute
>> tenor and conductor. At least I could see the stage!  It was nice to see
>> the gold curtain also.  Apparently, this production is 25 years old;
>> "Parsifal" is five years old.  A lot changed in those 20 years, some good,
>> some bad. Jean
>>
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>
> --
> Kathy Boyce
> [log in to unmask]
>
> New Hampshire
> And the night shall be filled with music... Longfellow
> http://www.cafepress.com/operabayreuth
>
>
>
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