Oh I take Frida Leider to Kirsten Flagstad every day of the week. Leider is a resplendent cabernet to Flagstad's german beer.
Heresy, perhaps.
Likewise, I take Max Lorenz to Lauritz Melchior. More deeply felt. Much better actor.
Analysis of opera singers is a challenging judgement for me to make. There are of course, the quality of the voice and the quality of the acting. Interestingly enough, these judgements certainly overlap with pop musicals and to much less extent popular bands' and musicians' concerts as well.
If one is to judge an singing/acting performance, that judgement is best based on the entire show as opposed to selections. Live recordings of entire operas did not really become common until the late 1930s early 1940's. Also, a recording inherently makes It difficult for me to form acting ability opinions of those who I cannot see, although a certain percentage of that ability is clearly conveyed in vocal inflections.
As one who has spent much time backstage in straight plays and musicals as a performer, stage manager, and director, there is a a certain feeling of excitement and adrenaline when the curtain comes up, you are bathed in lights, and can hear, indeed feel the audience which is positively inspiring. No matter what the level of the rehearsal, the audience generally has a stunning positive effect on the performers/actors. This is in contrast with film work, which like studio recordings, are based upon flaked and formed, out of sequence parts, designed to make someone or something better than it is.
As an aside, valid or not, straight play (non musical) actors generally feel that musicals require little acting ability, and musical (Broadway sorta stuff) performers have little regard for opera singers abilities to do little other than sing. In fact many musical comedies will parody opera singers by posing them stiffly, singing with clasped hands.
