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.' [log in to unmask] [log in to unmask]