Here's a conflict and the resolution:

Kent Nagano's Berkeley Symphony presents a concert version of Philippe
Manoury's opera `60th Parallel' in Zellerbach Hall at 8 p.m., Wednesday,
June 9.

Why does that date sound familiar? Because it's the opening of Cycle I of
the San Francisco Opera's `Ring.' Darn.

The solution? Attend the dress rehearsal of the Manoury opera at 7:30 p.m.
on June 8.  Unlike SFO's `no critics/no invited guests' policy for the
dress, Judith Whitney -- the BSO executive director -- is actually
*inviting* people.

For those not in the Theatre du Chatelet two years ago, here's the
information about `60th Parallel' (also from Ms.  Whitney):

   `The production includes full orchestra, nine singers and computer
   generated music.  The opera is based on a simple story:  people are
   waiting in an airport on the 60th parallel.  They cannot leave because
   it is snowing outside.  No one knows when the storm will be over.
   Within this group are a war criminal - someone who wants to capture
   him - two women completely lost, one of whom is secretly in love with
   the other; and an old man preparing a speech on Einstein's brain -
   a group of people who have no reason to be in the same place at the
   same time.

   `The libretto was written by Manoury; the French writer Michel Deutsch;
   and stage director Pierre Strosser.

   `At the heart of the computer environment for the opera is a graphic
   object-oriented music language known as "Max," developed by Miller
   Puckett, currently of UC San Diego, when he worked at IRCAM in Paris.
   Since the original production of 60th Parallel, Mr.  Puckett has
   created three relatively compatible dialects of "Max." This environment
   permits musicians with no programming experience to process musical
   gesture (MIDI) as well a sound (DSP).  For example, Mr.  Manoury
   often uses a type of sound synthesis that closely resembles the human
   voice.  This can appear as a shimmering synthetic choir, a ghostly
   counterpoint voice, or even a bass line.  A musician following the
   conductor can control the parameters in real-time.  Indeed, an
   important part of rehearsal is the rehearsing of the electronic parts
   with corrections by the conductor.

   `The result is spectacular:  a seemingly effortless integration of
   computer music techniques and operatic traditions that moves beyond
   merely technological achievement and into the realm of art.'

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