Janos Gereben quotes Tomas Quasthoff:

>one reason for not projecting the all-important words in opera is) a
>bad director who considers himself more important than the opera itself

"Right On", comments Janos.  Yes, but not "right" - at least, not usually.
Rather, my own main complaint against "Eurotrash" directors (but let's
include "Yankeetrash" as well) is that they are innocent of any ideas
whatever about the pieces they tackle.  Concepts, yes.  Ideas, no.

In truth, and as Quasthoff himself will discover when he knows a little
more about it, the main reason the words can't be heard in the opera
house is the prevalence of insensitive conducting - and loud orchestras.

Modern orchestral technique (especially for strings) is all about achieving
maximum volume of tone to fill the absurdly large barns that have become
the operatic and concert-hall norm.  Many conductors do little to curb
this, being more interested in moulding an impressive orchestral wash than
in getting the text across.

The orchestrally admirable Rattle "Parsifal" at Covent Garden was a good
case in point - and no blame whatsoever to the poor director, whose sole
concept was apparently to have everyone stand still and face front
throughout proceedings.

Bad singing has a plenty to do with the problem as well: forced careers,
rushed preparation, jet travel and all the other ills of modern marketing.

For once, let's give the Euro-Yankeetrash director a break: whatever her
failings (which are legion) she is certainly not to blame for verbal
inaudibility.

Christopher Webber,  Blackheath, London,  UK.
http://www.nashwan.demon.co.uk/zarzuela.htm
"ZARZUELA!"