Judging Opera Companies

Mark Swed, in his review of “Lohengrin” presented by the Los Angeles Opera (“A Lyrical ‘Lohengrin,”’ Sept. 17), stated that “opera companies are often measured, justifiably or not, by their Wagner.”

Not quite true. Let me mention two counter-examples. At Vienna State Opera, arguably the most important in Europe, if we measure importance by the length of the season, the number of operas presented and the caliber of its singers, Wagner appears almost as an afterthought. On the other hand, Seattle Opera, which could be dubbed as the “poor man’s Bayreuth,” aside from those Wagner experiences would hardly make it to the Top 10 in the country.

MIGUEL DE VIRGILIO

San Pedro

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Just like Swed, I saw the first performance of “Lohengrin.” It seems to me that we saw two different ones.

He saw a beautiful and original stage setting. I saw three giant English saddles stacked one upon the other. He saw fascist uniforms. I saw Nazi army uniforms. He saw noble German warriors. I saw a bunch of comedians who apparently did not have time to put on a pair of pants so they displayed their rachitic spindly legs.

The day was saved by the magnificent singers and an inspired orchestra.

ALEX LAUTERBACH

Encino