Kolodin whose review of the premiere of the current production reveals that he hated every aspect of it except Franco Corelli, mentions that after plans to have Cecil Beaton design it fell through, Bing decided to copy a then-current Naples production. That production is probably the one that Olivero (subbing for Tebaldi), Corelli, Bastianini and Simionato were performing in the famous, incendiary “pirate” that is the best possible realization of the opera many of us can imagine.

My good friend Will (we go waaaayyy back) correctly points out that the longest lived production in recent MET repertory isn’t the 1964 FALSTAFF, but the 1963 ADRIANA LECOUVREUR.

Rudy Bing would turn over in his grave if he knew the show was still in use. He did it back then because Tebaldi demanded it or else she wouldn’t come to NY at all. And then she got ill, and is he put it, “I had to do the damned thing without her”.

It hasn’t been revived all that often, but I daresay we’ll get another go-round of this 40+ year old sets the next time some aging diva requests it.

Of course, it depends on what your definition of good technique is – a very divisive and entirely seperate issue, I guess.

The premiere of the Adriana Lecouvreur production was January 21, 1963, not January 1.

The same is true of Tamagno and several others of that era–the recording process captured them past their primes. But there are wonderful things to be heard, technical facility and an approach to singing that can easily be discerned even if, as is certainly true in some–not all–of Lehmann’s records, the tone is worn or breathing effortful. Consider, though, that if all we had of Callas was only what got recorded in the mid- to late-1960s, her reputation simply as a singer would be severely compromised, too.

As to the oldest productions in the MET’s current stock, I would propose Adriana Lecouvreur. It was tarted up, as the Victorians would say, quite a bit last season, but the core remains from its January 1, 1963 premiere, 46-1/2 years ago.

In his sneering, dismissive review of the opera itself, Irving Kolodin opined the money spent on the orchestral parts to be a complete waste as surely very few MET musicians would ever play the vapid, superficial music again. Wrong! Does anyone want to predict with certainty that we won’t ever see this production again?

And it’s at that “etc.” where the confusion may start; she was also the first Chrysothemis, and sang Aida, Sieglinde, and Isolde as well as coloratura roles.

The would be the Zeffirelli (!) FALSTAFF, which dates from 1964 in the old house. It was recently refurbished.

The third production seen at Lincoln Center was used just last season; LA GIOCONDA. Though the costumes were redone in the 1970s or 80s because of a warehouse fire.

DER ROSENKAVALIER dates from 1968, also rebuilt, and is arguably a more succesful production than the BOHEME.

Gelb is right: nothing should last forever. But there is no set-rule about when something is to be replaced. There are too many factors involved, including occasion, singers, designer, director, etc.

Bayreuth retained the original production of PARSIFAL for 50 years! And Wieland Wagner’s famous 1951 staging lasted til 1973, 7 years after he had died. Wisely, even these “hallowed” productions were eventually replaced.

In the asylum the director is sane…..

what will happen to La Boheme at the Met? the Met Futures site has nothing on a new production.

i guess i wont be working at the met anytime soon. HA

they were talking about how 25 is too old an age, well what about 30? THAT’s old! plus, this boheme is more revered than Tosca, i would say. I was really wondering how they were tackling that. but maybe that was too much of an intrusive question for a library talk with the public

Bondy said, interestingly, that he never expected his Tosca to last at the met 20 years like Zeff’s did… I found that thought provoking… Did the traditionalist public react badly to the Tosca because they assumed it would be on stage for the next 20 years? If presented with a new model, in which productions are remade more frequently, would it have gone down smoother?

Bondy also said that productions don’t stay on stage so long in Europe as they do here. SOME DO! The Vienna Rosenkavalier is vintage 1969, “Frei nach einer Inszenierung von Otto Schenk, neu geprobt, neu Musikalisch ausgearbeitet” is how it gets billed these days.

id be ok if they kept boheme for 10 more years! BUT if he’s going to go off about the need to mount new productions for works which are old then go for this one! (which if im not mistaken is one of the oldest in the current rep?)

he’s phased out Tosca, next season will be Traviata, but no new boheme?? i just find it inconsistent. and frankly, i dont like gelb that much. hopefully (and watch out for my huge delusional comment thats about to come) he doesn’t issue a bull that will fire me from my internship! lol

the next step for M&A at the Met is the garbage dump I reckon. Thanks for clarifying though!

my personal grudge is that they have not mounted a new production of Moses und Aron in like 15 seasons! I’m going on a hunger strike tomorrow if they don’t announce a new one for 2011.

2. You are right, I wanted to tell Bondy off for saying his opera was in period. Scandinavian Coffee Tables and red velour sofas were not, as I recall, in the Palazzo Farnese in the 18th Century.

i was the one who asked about the boheme, which im basing my gelb opinion on..

he keeps talking about how they need to change and update and give new productiosn bcause its their responsibility as an institution. And yet they have NO plans at all to change boheme yet, coz they know they will be murdered once they change it. They are aware of it. They keep talking about how Tosca was 25 years old and was too old, and yet the boheme is almost 30 yeas old, and yet, no mention of changing it. All Gelb said was “all productions at the Met will be changed”

My favorite question was : “Mr Gelb, I was wondering what your opinion is on the similarities between musical theatre and oepra were, and how come the met doesnt present more musical theatre-ish works?” (im paraphrasing)… My thoughts exactly… Ive been having discussions with several musicologist friends of mine and there’s pretty much a consensus that musical theatre is kind of the American Operatic Tradition… but thats a topic for another day.

What I hated was the fact that the social climber in me felt the compulsion to shake Gelb’s hand as well as Bondy’s and say that I initially did not like it but now I do. FUCK.

Bondy said he did not update at all. He kept saying his production was in period…

good work,squirrel…thanks…!

PS How’s this for a vulture’s feast?: http://www.observer.com/2009/theater/mets-messy-season-limps-third-week-boos