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LISTENERS' BOX
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Responses to Recent Issues
Superb Compensation
I have heard Nakamatsu several times [see review "A Tale of Two Pianists," Aug. 22, 2006]. In my opinion, a major reason for his outstanding playing is that he superbly compensates for the imperfections of the piano he is playing at the time, along with the acoustics of the concert hall. — Jerry Wright, San Francisco
On the Lighter Side
Thanks to Janos Gereben's descriptive review [see review "Migenes Assoluta," Aug. 15, 2006] we decided to treat ourselves to Julia Migenes' extended run in San Francisco of her spoof, together with her marvelous sidekick on piano, of the operatic traditions we hold dear. The energy of the diminutive soprano with her still-impressive vocal prowess, the physical "schtick" that is testament to her dance training and ongoing discipline (as she explained when we stopped her as she happened to pass by us in the lobby after the show), and her witty commentaries on the nonsense we addicts happily accept as part of the magic of the musicals we call opera, all added up to a wonderfully lighthearted and entertaining evening. Thank you, SFCV, for bringing this performance to our attention. It provided much-needed relief from the seriousness of current events. — Stephanie Smith, Palo Alto
Staging Controversy
I don’t often find myself taking exception to theatrical or musical reviews, since I consider them to be an expression of the reviewer’s opinion, colored by his or her own experience, with which I can agree or not, or totally ignore.
But in the case of "A Little Nightclub Musik" [Aug. 15, 2006] James Keolker's review of Festival Opera's recent production of Don Giovanni, I must protest, loudly, vigorously, and with much heat. Dr. Keolker is obviously a purist and prefers his Mozart as it was performed when it was first written, corsets, hoop skirts, and all.
Although I agree with him in principle — I do so like my operas "pretty" — this approach doesn't work anymore, for the most part. The audience for classical opera staging is growing older and dying off in greater numbers every year, and the younger replacement audience just isn't happening. In order to attract young people to the beauty and grandeur of opera, you first have to get them into the seats to experience it firsthand. "Modern" staging, plotlines similar to current events and attitudes, mosh-pits, give the younger generation something to relate to. If they like this one, maybe, just maybe, they might want to come back the next time there's an opera playing at the Lesher. And maybe they'll want to share the experience with a friend, or a date, or a sibling. That's the lifeblood of any artistic endeavor.
Dr. Keolker seems to feel the staging got in the way of vocal production, which he describes as shrill, harsh, coarse, and abrasive at various times in the review. That's the norm, not the exception, and is due to the fact that there are only two choices in a staged production: park-and-bark, a wooden production with better vocal production; or fully realized, with real movement and less-than-perfect vocal technique.
The real review came in the last paragraph, where the two young audience members responded to his question of how they enjoyed the opera with "... it was, like, awesome." That was the whole idea, the entire reason behind the modernized production, and Keolker just didn't get it.
One elderly Lamorinda-area matron was heard to exclaim during intermission on Friday night, August 18, "It’s an insult to the music and to the performers!" She obviously agreed with the review; from the sound of the applause and cheering during the curtain calls, the rest of the audience disagreed with her.
— Diana Sinclair [cast member, Don Giovanni, Festival Opera]
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