paulh@tektronix.UUCP (Paul Hoefling) (09/01/85)
[If this leaves Oregon, sorry, I tried to restrict it]
For those of you who appreciate opera, Richard Wagner in particular, KYTE
(FM 101.5) in Portland will be airing the complete Ring cycle sung by the
San Francisco opera company. Here are the dates:
Sept. 8 Das Rheingold
Sept. 15 Die Walkure
Sept. 22 Siegfried
Sept. 29 Gotterdammerung
The time is at 8:00 PM each Sunday (except for the 1st) in September.
Enjoy... I know I will !!!
--
Paul Hoefling
Information Pack Rat
uucp: {allegra,decvax,ihnp4,ucbvax,zehntel}!tektronix!paulhcaf@omen.UUCP (Chuck Forsberg WA7KGX) (09/01/85)
KYTE-FM is at 101.1 mHz, not 101.5. It's a 24 hour (hurrah!) classical station. Those with digitial tuners might miss it with the wrong freq. -- Chuck Forsberg WA7KGX ...!tektronix!reed!omen!caf CIS:70715,131 Omen Technology Inc 17505-V NW Sauvie Island Road Portland OR 97231 Voice: 503-621-3406 Modem: 503-621-3746 (Hit CR's for speed detect) omen Any ACU 1200 1-503-621-3746 se:--se: link ord: Giznoid in:--in: uucp Home of Professional-YAM, the most powerful COMM program for the IBM PC
greg@olivee.UUCP (Greg Paley) (09/03/85)
Having heard and seen the S.F. Opera "Ring", I'm sorry to have to express my bitter disappointment with the quality of the broadcasts and I feel compelled to assure those that what is heard on those tapes is not an accurate sonic record of what was heard in the S.F. Opera house. I happened to see the same performances that were essentially used for the broadcast tapes (I say "essentially" because snippets from other performances were edited in). As is perhaps understandable, the positioning of microphones was such that visual unobtrusiveness was given a higher priority than sonic quality. Therefore, the two mikes were hung directly over the proscenium, midway between the orchestra pit and the stage. The result is that what one hears captured is the "core" of the sound of voices and instruments, without the resonance and overtones that are an essential part of the sound heard live. This has several fairly devastating consequences. For one thing, flaws in playing (cracked or wrong notes) and singing (poor intonation, tremulousness or wobble) are fully captured and, in fact, exaggerated. Worse, though, is the falsification of the actual timbre of certain voices. James Morris' voice is heard as a dry, occasionally edgy sound - particularly when his high notes overloaded the mike preamps, causing the engineer to monitor them, giving the impression of their being strangled. This sound was merely the embryo of the actual opulent, rich sound that poured out into the auditorium of the opera house. Likewise, in the case of Eva Marton, one hears on the tapes the occasional tremulousness and unsteadiness without hearing the richness and power that made the weaknesses insignificant. Perhaps the worst victim is the orchestra. I can only assure those who weren't there for the live performances, that the puny, underplayed sound that reached the microphones does not approximate the powerful, resonant sounds that the audience heard. This, in fact, gives a false impression of Edo de Waart's conducting since, without the actual impact of the sounds allowed by his relatively slow tempi, his pacing sounds flabby and lethargic. For me, this served as a good lesson for evaluating Met and Chicago broadcasts - don't judge a performance by what the mikes heard. - Greg Paley