Michael G Giuseffi asked in a recent post: "In the October Opera News I saw an
ad for a Lohengrin with Konya, Amara and Gorr. Before I buy it, I would like
to get some opinions of this performance.Thanks."
And Bill Fregosi gave a very good response that started with .."This is one
half of an extraordinary LOHENGRIN. The other half is variable but not all
that negative. It was planned around a two day, three concert presentation at
Tanglewood with the Boston Symphony ..."
And Jim Jacobs says this: "I liked what Bill said about the recording. He is
being very nice, but really the BSO and Leinsdorf are the stars. The
orchestral playing and sound are superb. I think it's the best of many I've
heard. I also
agree that Konya is very good, but the singing goes downhill very fast
after him. Bill's thorough details explain why the singing is not very
good, but it is still not good enough."
Here is what Charles Osborne said in Alan Blyth's "Opera on Record" - 1979
"The Leinsdorf version, with Wagner's Act 3 cut restored, is a curious affair.
I am no enemy of Leinsdorfian briskness, but the poetic baby appears to have
been thrown out with the ponderous bath-water, and all one is left with,
orchestrally and chorally, is healthy but intrinsically meaningless sound.
The set's one real asset is the Lohengrin of of Sandor Konya: a voice full of
character, and retaining alongside its strength a lyrical sweetness. The
ladies are disatrous, Lucine Amara completely at sea, and vocally in as much
difficulty as Rita Gorr's Ortrud. William Dooley is simply not up to
Telramund. Jerome Hines makes nothing of Heinrich, and the only other singer
to make any effect, apart from Konya, is Calvin Marsh as the Herald."
Sorry so late with this, but I have to think where I have these snippets. But
you know what? I'm going to buy the set because of Konya, and to test
Osborne's critique. After all, is he any better than the rest of us?
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