It sure seems like everyone’s a critic

AFTER attending the L.A. Opera’s recent opening performance of Wagner’s “Parsifal,” my immediate reaction was one of grief over the fact that even a masterpiece like “Parsifal” can be butchered beyond recognition when placed in the hands of the wrong director.

Upon observing several instances where the actions of the performers on stage directly contradicted the words they were singing (either in the original German or the English supertitles), I came to the conclusion that Robert Wilson’s “Parsifal” rendered meaningless any sense of the opera as drama.

After reading Mark Swed’s review [“Placido’s Quest for the Grail,” Nov. 28], I realize that no matter how ridiculous the performance looked on stage, Wilson’s incorporation of the principles of Japanese Noh theater provides the depth, profundity and emotion to this “Parsifal” that are, to a normal audience, absent. A hundred years ago, Mark Twain quipped that Wagner’s music was really better than it sounded. Upon consideration of Swed’s review of Saturday’s performance, I have to add that Wilson’s production must have been better than it looked.

EDWARD S. REISMAN

Santa Monica

*

AFTER reading Daryl Miller’s review of “White Christmas” [“Not Like the Ones You Used to Know,” Nov. 30], I was mildly apprehensive about the tickets I held. But after being thoroughly entertained for 2 1/2 hours, I am mystified as to what show Miller actually saw.

It seems to me that Miller adores the original 1954 movie and would find fault with anything else. He compares this “extravaganza” to the classic film, but doesn’t seem to realize that live theater is a Christmas tree of a different color. I agree with Miller that the costumes and sets were terrific. They provided charming support for top-quality singing, acting and dancing with, yes, plenty of heart!

LIZ KINNON

Culver City

*

I cannot remember having read a review of a movie musical that provided almost no comment on the songs, dancing and singing. Carina Chocano’s diatribe against the story robs her review of “Rent” of credibility when she ignores some of the most important ingredients [“A Troupe of Failures for Sale -- or, ‘Rent,’ ” Nov. 23]. It is like reviewing the “Harry Potter” films and not mentioning special effects.

LOU PEREZ

Studio City