After years of systematic preparation, it was time for
the coronation, providing a sharp accent in the history of Danish opera,
and with an enormous effort, at the same time setting a few records in
the Ring reception. The Jutland Opera in Århus, Denmark's second
largest city, produced the tetralogy in three - and when one also counts
the open dress rehearsal, four - cycles. No theater until now could have
attempted a similar show of power, and this, under the leadership of a
single conductor. And Elliot Palay who, as a guest, sang Siegfried in all
performances, can be assured that none of his present colleagues could
imitate what he accomplished.
THE SINGERS
Impressive also was the vocal nouveau of this new production.
Elliot Palay, whom I heard two years ago in Siegfried, displayed even then
astonishing endurance and almost inexhaustible material without showing
any signs of tiring. His articulation and his attack were, however, seemingly
unclear; which seemed to be part of an incorrect vocal technique. However,
he has a stage appearance that is an ideal Siegfried, and with reserves
that hardly another in his fach (vocal category) has. This time, his Siegfried,
in both Siegfried and Götterdämmerung, was vocally consistent
and correct, with clearer articulation. Signs of tiredness were, even after
this Ring-Marathon, not to be perceived. His handicap remains that he only
sings with power, and on a constant forte dynamic without nuances. If he
were to take this one decisive step in completing his character, he would
have no competition to fear.
MORGENPOSTEN
AUGUST 23, 1987
EXPLOSIVE VICTORY FOR SIEGFRIED
Siegfried became the greatest triumph of the Ring. It
was drama I will never forget. There was an enormous difference between
the Siegfried that was played two years ago, and the one last night.
Elliot Palay was not just a singer, not just a voice
- he was a primitive force. About him one can only say that not only was
he able to overwhelm the music house, he did it in reality. Last time he
sang Siegfried he had an extremely large voice, but in two years he has
matured to be totally fantastic. I wonder if anyone at all would be able
to perform the way he did last night - maybe not even himself.
BERLINGSKE TIDENDE
AUGUST 23, 1987
Siegfried Success The choice of the American tenor Elliot
Palay for the title role, which in '85 seemed problematic, proved to be
justified. He has developed a weightier voice, has a firmer grasp on the
character and gives more shades of expression. His Siegfried was a positive
surprise, vocally secure and effective on the stage.
MALMO, SWEDEN
AUGUST 30, 1987
Palay sings, acts, sweats, and works physically with
Wagner as nobody else. What is more, he has humor, proved in Siegfried
where Palay indicates that he gets the woodbird's droppings in his eye.
Here Palay makes Wagner almost undeservedly funny!
JYLLANDS-POSTEN
AUGUST 25, 1987
Elliot Palay has developed as Siegfried. His baritone
foundation acts as a safety net and both nights his tenor level grew stronger
and more free. Both in Siegfried and in Götterdämmerung he ended
impressively.
BERLINGSKE TIDENDE
AUGUST 25, 1987
TOP PERFORMANCE
Vocally the performances are borne by three top performances:
Elliot Palay / Siegfried, Aage Haugland / Hagen, and Jurgen Klint / Alberich.
I was especially impressed by Elliot Palay's Siegfried which was performed
with convincing vocal intensity and shading of phrase register. Not many
tenors in the world sing Siegfried as does Elliot Palay.