Tag Archive: Achim Freyer

Vivica Genaux talks to Michael Miller about Acting, Regieoper, and Taking the Waters: the Interview, Part III

Vivica Genaux

Vivica Genaux has recently appeared in a George London Foundation recital at the Morgan Library, and Vivaldi’s opera Ercole has recently been released in a superb recording by EMI with Europa Galante led by Fabio Biondi, in which she sings the part of Antiope. This is the third and final part of an interview held on December 13, 2011.

MM I remember when I heard you in Paris in L’Italiana in Algeri—and I have to apologise that I never got a review out for that performance, which was great—but you were having some trouble at the time (At least it was announced in the house.), and all one noticed in the performance was that you were a little quiet for part of an act, and then you were right back into it.

Achim Freyer’s Rocky Horror Ring takes over Los Angeles!

Dressing up in a monkey suit is a time-honored profession in Hollywood. Many is the young actor or layabout who has earned a few dollars by dressing up as a gorilla — or Batman or Chewbacca — and going out into the streets with pamphlets to spread the good news about some new deli or used car lot or strip show. For a while, gorilla suits were popular in the studios as well. (That’s a whole genre that’s almost entirely forgotten today.) I reflected on this, as, on the eve of Das Rheingold, I drove along Sunset Boulevard, observing the crowds of tourists in front of Grauman’s Chinese Theater, along with a group of people dressed up as comic book heroes who were available to pose with the visitors. I wondered if any of them thought about the impoverishment of the imagination that these comic book figures have brought to the movies. Humphrey Bogart, Barbara Stanwyck, Walter Huston, and Bette Davis all created characters in their own way, even if they remained recognizable as themselves in their parts. We know what to expect from Batman and Darth Vader simply by their costume, their design, or merely the outline of their shadow on a fictitious pavement. Characterization and acting are superfluous, even though some of these characters have human vehicles, who are dutifully provided with origins, relationships, and dilemmas, by screenwriters who know that they can only sink so low.

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