Comments on: From the House of the Gelb http://parterre.com/2009/11/12/from-the-house-of-the-gelb/ where opera is king and you, the readers, are queens Sun, 27 May 2012 08:11:44 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Ruxton http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105934 Ruxton Sat, 14 Nov 2009 11:42:39 +0000 http://parterre.com/?p=9773#comment-105934 Constantine is dead right- Until Mr Gelb started the Met broadcasts no other company had regular broadcasts in movie theatres throughout the world at the rate they are currently doing. Sure singular or gala performances in isolation have been done before but not programmes of six or more recent/current performances. La Scala is clearly copying the Met- so too is the Royal Ballet & Opera. Credit where credit is due- this last year has been a veritable feast of performances and it wouldn't have happened if it wasn't for Mr Gelb. I don't care what any silly ol queen says, this is one silly ol queen who's got a lot to thank Mr Gelb for...and does! Constantine is dead right- Until Mr Gelb started the Met broadcasts no other company had regular broadcasts in movie theatres throughout the world at the rate they are currently doing. Sure singular or gala performances in isolation have been done before but not programmes of six or more recent/current performances. La Scala is clearly copying the Met- so too is the Royal Ballet & Opera. Credit where credit is due- this last year has been a veritable feast of performances and it wouldn’t have happened if it wasn’t for Mr Gelb. I don’t care what any silly ol queen says, this is one silly ol queen who’s got a lot to thank Mr Gelb for…and does!

]]> By: lorenzo.venezia http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105809 lorenzo.venezia Fri, 13 Nov 2009 15:29:47 +0000 http://parterre.com/?p=9773#comment-105809 A friend preparing for a starring role in a new production at Vienna State Opera informs me that for new productions there are seven weeks of rehearsal, but for previously performed productions, only two or three days. This is not unusual. A friend preparing for a starring role in a new production at Vienna State Opera informs me that for new productions there are seven weeks of rehearsal, but for previously performed productions, only two or three days. This is not unusual.

]]> By: maddalenadicoigny http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105767 maddalenadicoigny Fri, 13 Nov 2009 00:47:48 +0000 http://parterre.com/?p=9773#comment-105767 4.2- I agree with you that so far Gelb has only had success ( if that ) with imports. Tosca, Lucia and Sonnambula are his, not the previous administration. Of course Gelb hired Zimmerman and his own comments in the press support this. But let's face it, so far the productions have been duds, "the lady doth protest too much". Went to Damnation, lotsa empty seats. Before anyone starts calling anyone a savior, they should let time tell. La Cieca- please, oh please take it easy. You demean your talents when you allow your prejudcies get the best of you. 4.2- I agree with you that so far Gelb has only had success ( if that ) with imports. Tosca, Lucia and Sonnambula are his, not the previous administration. Of course Gelb hired Zimmerman and his own comments in the press support this.
But let’s face it, so far the productions have been duds, “the lady doth protest too much”.
Went to Damnation, lotsa empty seats.
Before anyone starts calling anyone a savior, they should let time tell.
La Cieca- please, oh please take it easy. You demean your talents when you allow your prejudcies get the best of you.

]]> By: louannd http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105753 louannd Thu, 12 Nov 2009 22:57:56 +0000 http://parterre.com/?p=9773#comment-105753 That first production with Scotto and Pavarotti was a magical moment for the entire school of vocal students at the The University of New Mexico in 1977. Since then, public broadcasts have not increased much, with the exception of the HD Met, which, as you can imagine, is doing very very well out here, probably (just a theory) because of the baby-boomer exodus to the West and their childhood memories of East coast culture, and not because younger people are attracted to the opera. I feel like I know the European opera houses better (except for the Met) because many of the broadcasts make it to television, and eventually Youtube. Yet, here in Arizona, at our little Arizona Opera company, I heard some astounding performances, the likes of which will not be known to the world due to lack of public exposure and money to support such exposure. Does that exposure bring young people to opera in Europe? Someone might be able to enlighten me on that topic, or is it the predominance of Regie theater in Europe that brings younger people, or, both? I just feel a bit sad for these young American singers who could benefit from having their voices heard all over the world, and, for the world not being able to hear them. Will we ever see a Santa Fe performance on Youtube? That first production with Scotto and Pavarotti was a magical moment for the entire school of vocal students at the The University of New Mexico in 1977.

Since then, public broadcasts have not increased much, with the exception of the HD Met, which, as you can imagine, is doing very very well out here, probably (just a theory) because of the baby-boomer exodus to the West and their childhood memories of East coast culture, and not because younger people are attracted to the opera.

I feel like I know the European opera houses better (except for the Met) because many of the broadcasts make it to television, and eventually Youtube. Yet, here in Arizona, at our little Arizona Opera company, I heard some astounding performances, the likes of
which will not be known to the world due to lack of public exposure and money to support such exposure.

Does that exposure bring young people to opera in Europe? Someone might be able to enlighten me on that topic, or is it the predominance of Regie theater in Europe that brings younger people, or, both? I just feel a bit sad for these young American singers who could benefit from having their voices heard all over the world, and, for the world not being able to hear them. Will we ever see a Santa Fe performance on Youtube?

]]> By: kashania http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105748 kashania Thu, 12 Nov 2009 22:42:06 +0000 http://parterre.com/?p=9773#comment-105748 LOL LOL

]]> By: CruzSF http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105746 CruzSF Thu, 12 Nov 2009 22:40:25 +0000 http://parterre.com/?p=9773#comment-105746 "Dead" is the new "dying"? “Dead” is the new “dying”?

]]> By: CruzSF http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105744 CruzSF Thu, 12 Nov 2009 22:36:10 +0000 http://parterre.com/?p=9773#comment-105744 No Expert, I left my impression of last night's Aida under the "Breakfast" thread. I hope you liked the telecast and am interested to read your thoughts on it. No Expert, I left my impression of last night’s Aida under the “Breakfast” thread. I hope you liked the telecast and am interested to read your thoughts on it.

]]> By: Arianna a Nasso http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105742 Arianna a Nasso Thu, 12 Nov 2009 22:24:57 +0000 http://parterre.com/?p=9773#comment-105742 Weren't these productions sold out prior to the opening night and the new productions had been unveiled? Weren’t these productions sold out prior to the opening night and the new productions had been unveiled?

]]> By: Arianna a Nasso http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105741 Arianna a Nasso Thu, 12 Nov 2009 22:22:56 +0000 http://parterre.com/?p=9773#comment-105741 Lucia and Sonnambula casting was planned by the Volpe administration. Gelb was the one who decided to engage Mary Zimmerman for new productions of these titles; I think the former was to be a revial of the old Joel production, the latter a rental of a production from Vienna (at least according to the Met Futures site at the time). Lucia and Sonnambula casting was planned by the Volpe administration. Gelb was the one who decided to engage Mary Zimmerman for new productions of these titles; I think the former was to be a revial of the old Joel production, the latter a rental of a production from Vienna (at least according to the Met Futures site at the time).

]]> By: louannd http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105740 louannd Thu, 12 Nov 2009 22:20:02 +0000 http://parterre.com/?p=9773#comment-105740 Thank you all for educating me. What you have said really explains a lot about voices that I haven't understood in the past. I do appreciate your expertise. Thank you all for educating me. What you have said really explains a lot about voices that I haven’t understood in the past. I do appreciate your expertise.

]]> By: La Cieca http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105738 La Cieca Thu, 12 Nov 2009 22:05:29 +0000 http://parterre.com/?p=9773#comment-105738 <I>Otherwise, the Zeffirelli could be thrown up there with mediocre casting (as it nearly invariably was) and people would come.</i> "Would" is not the same as "will." I remember that toward the end of the Volpe era, it was pointed out to him that over the previous decade, the median age of the audience had increased by ten years. He shrugged and said, "Oh, well, 70 is the new 60." The problem with this thinking, of course, is that eventually dead is the audience. My impression is that the "go to the Met once in your lifetime while visiting beautiful New York City" was failing pretty badly by the early 2000s. I certainly don't remember any of the <I>Tosca</i> performances (except on those occasions when Pavarotti would totter out) as being a "stampede to the box office." I have to say, too, Gualtier, that I would be wary of deriving any sort of box office truisms (whether at the Met or any other performing venue) from the past couple of seasons. We're having the worst economic downturn since the 1930s, which is surely impacting ticket sales more powerfully than stage decor. Otherwise, the Zeffirelli could be thrown up there with mediocre casting (as it nearly invariably was) and people would come.

“Would” is not the same as “will.” I remember that toward the end of the Volpe era, it was pointed out to him that over the previous decade, the median age of the audience had increased by ten years. He shrugged and said, “Oh, well, 70 is the new 60.” The problem with this thinking, of course, is that eventually dead is the audience.

My impression is that the “go to the Met once in your lifetime while visiting beautiful New York City” was failing pretty badly by the early 2000s. I certainly don’t remember any of the Tosca performances (except on those occasions when Pavarotti would totter out) as being a “stampede to the box office.”

I have to say, too, Gualtier, that I would be wary of deriving any sort of box office truisms (whether at the Met or any other performing venue) from the past couple of seasons. We’re having the worst economic downturn since the 1930s, which is surely impacting ticket sales more powerfully than stage decor.

]]> By: No Expert http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105736 No Expert Thu, 12 Nov 2009 21:54:43 +0000 http://parterre.com/?p=9773#comment-105736 Constantine, I admire your enthusiasm Constantine, I admire your enthusiasm

]]> By: Gualtier M http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-3/#comment-105735 Gualtier M Thu, 12 Nov 2009 21:53:42 +0000 http://parterre.com/?p=9773#comment-105735 Artistic success and box office success are two different things. The "Sonnambula" sold well because it was a new production of a famous but underproduced opera with two big stars: Dessay and Florez. I suspect that a revival with lesser names would play to an empty auditorium. I went to a later performance to check out Barry Banks as Elvino - the audience was cold and unenthusiastic. The "Tosca" was pretty much sold out this past October. Does that make it a success? Another yardstick of a successful production is how well it plays in revival without the original cast. "Damnation" has been doing poorly at the box office. The Taymor "Flute" (lest ye forget a Volpe baby first to last) did well for several years but then declined recently after all the Taymor groupies had seen it already. I suspect that a revival of the Bondy production of "Tosca" with the current level of casting in dramatic Italian operas would not start a stampede to the box office. If Maria Callas came back from the dead yes. If Netrebko or Fleming took on Floria. Otherwise, the Zeffirelli could be thrown up there with mediocre casting (as it nearly invariably was) and people would come. Like in "Cats" on Broadway people came to see the sets, not the stars. Very eighties. Artistic success and box office success are two different things. The “Sonnambula” sold well because it was a new production of a famous but underproduced opera with two big stars: Dessay and Florez. I suspect that a revival with lesser names would play to an empty auditorium. I went to a later performance to check out Barry Banks as Elvino – the audience was cold and unenthusiastic. The “Tosca” was pretty much sold out this past October. Does that make it a success?

Another yardstick of a successful production is how well it plays in revival without the original cast. “Damnation” has been doing poorly at the box office. The Taymor “Flute” (lest ye forget a Volpe baby first to last) did well for several years but then declined recently after all the Taymor groupies had seen it already.

I suspect that a revival of the Bondy production of “Tosca” with the current level of casting in dramatic Italian operas would not start a stampede to the box office. If Maria Callas came back from the dead yes. If Netrebko or Fleming took on Floria. Otherwise, the Zeffirelli could be thrown up there with mediocre casting (as it nearly invariably was) and people would come. Like in “Cats” on Broadway people came to see the sets, not the stars. Very eighties.

]]> By: Constantine A. Papas http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105734 Constantine A. Papas Thu, 12 Nov 2009 21:39:35 +0000 http://parterre.com/?p=9773#comment-105734 BTW, I saw the telecast of Laboheme with Pavarotti and Scotto. But all these events of the past were sporadic and did not have the numbers of the venues-1000- and massiveness- millions of audiences in total- of the HD telecasts. I got tickets to see the opening night of La Scala, live, in a small town of New Mexico. That would have been impossible BG (before Gelp). From now on, opera's history will be devided in BG and AG. The floodgate is closed. BTW, I saw the telecast of Laboheme with Pavarotti and Scotto. But all these events of the past were sporadic and did not have the numbers of the venues-1000- and massiveness- millions of audiences in total- of the HD telecasts. I got tickets to see the opening night of La Scala, live, in a small town of New Mexico. That would have been impossible BG (before Gelp). From now on, opera’s history will be devided in BG and AG. The floodgate is closed.

]]> By: aloki miyeyi http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105732 aloki miyeyi Thu, 12 Nov 2009 21:25:33 +0000 http://parterre.com/?p=9773#comment-105732 The ticket sales statistics are from the Met website. The audience response assertions are from feedback to the Met via email and telephone as discussed in the media, and from my observations of and conversations with other attendees; I am a chatty sort, and I generally attend more than one performance of a given opera, prompted sometimes by a desire to see the same singers again, sometimes by a cast change. As for "other assessments" each is entitled to an opinion, but no-one is entitled to their own facts. To say that a production was a failure because you didn't like it proves nothing; "duds" and "shitty" are not sufficiently analytical to support these "assertions." The ticket sales statistics are from the Met website. The audience response assertions are from feedback to the Met via email and telephone as discussed in the media, and from my observations of and conversations with other attendees; I am a chatty sort, and I generally attend more than one performance of a given opera, prompted sometimes by a desire to see the same singers again, sometimes by a cast change. As for “other assessments” each is entitled to an opinion, but no-one is entitled to their own facts. To say that a production was a failure because you didn’t like it proves nothing; “duds” and “shitty” are not sufficiently analytical to support these “assertions.”

]]> By: Alto http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105730 Alto Thu, 12 Nov 2009 20:56:48 +0000 http://parterre.com/?p=9773#comment-105730 "I heard about a new production where they were barred from rehearsals." Would you please elaborate on this astonishing piece of information? “I heard about a new production where they were barred from rehearsals.”

Would you please elaborate on this astonishing piece of information?

]]> By: Buster http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105729 Buster Thu, 12 Nov 2009 20:54:28 +0000 http://parterre.com/?p=9773#comment-105729 Already Flaubert heard this complaint so often he included it in his dictionary of received ideas: ENTRACTE : Toujours trop long Already Flaubert heard this complaint so often he included it in his dictionary of received ideas:

ENTRACTE : Toujours trop long

]]> By: kashania http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105728 kashania Thu, 12 Nov 2009 20:40:36 +0000 http://parterre.com/?p=9773#comment-105728 Wow, a telecast as early as 1948? That's remarkable. And what a great cast. Wow, a telecast as early as 1948? That’s remarkable. And what a great cast.

]]> By: quoth the maven http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105727 quoth the maven Thu, 12 Nov 2009 20:27:15 +0000 http://parterre.com/?p=9773#comment-105727 even if these "facts" are true, does that mean that we aren't allowed to make other assessments of these productions? even if these “facts” are true, does that mean that we aren’t allowed to make other assessments of these productions?

]]> By: mrmyster http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105726 mrmyster Thu, 12 Nov 2009 20:05:45 +0000 http://parterre.com/?p=9773#comment-105726 But Clita, you are not the son of E. Makropoulos the way I am :) You can't be expected to remember these pre-historic events. And where did that 1948 'cast go? There were visuals from the Met as far back as the 1930s, but no real telecasts as full programs and none to national theatres until the 1949 effort, I believe. But Clita, you are not the son of
E. Makropoulos the way I am :)
You can’t be expected to remember
these pre-historic events. And
where did that 1948 ‘cast go?
There were visuals from the Met
as far back as the 1930s, but no
real telecasts as full programs and
none to national theatres until
the 1949 effort, I believe.

]]> By: iltenoredigrazia http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105723 iltenoredigrazia Thu, 12 Nov 2009 19:45:29 +0000 http://parterre.com/?p=9773#comment-105723 And your source of data to back up these assertions is..? And your source of data to back up these assertions is..?

]]> By: Clita del Toro http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105722 Clita del Toro Thu, 12 Nov 2009 19:28:19 +0000 http://parterre.com/?p=9773#comment-105722 I guess I was wrong about the Gala in 1954 being the "first" telecast--it was the only one that I remember. I guess I was wrong about the Gala in 1954 being the “first” telecast–it was the only one that I remember.

]]> By: Baltsamic Vinaigrette http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105718 Baltsamic Vinaigrette Thu, 12 Nov 2009 19:20:55 +0000 http://parterre.com/?p=9773#comment-105718 Looks like Constantine has opened the floodgates here, too! Yes, we now have Met screenings in venues throughout Ireland, they're a complete sell-out and it's all happened in the past three years - which is not to say that it was not in the planning before then. BTW Constantine, love that "Gelp", it might catch on. Now, out the door to catch the farewell appearance of Frederica Von Stade, a great friend of this country (her mother used to live here). Will miss the House chat tonight but I am looking forward to your posts. Looks like Constantine has opened the floodgates here, too! Yes, we now have Met screenings in venues throughout Ireland, they’re a complete sell-out and it’s all happened in the past three years – which is not to say that it was not in the planning before then.

BTW Constantine, love that “Gelp”, it might catch on.

Now, out the door to catch the farewell appearance of Frederica Von Stade, a great friend of this country (her mother used to live here). Will miss the House chat tonight but I am looking forward to your posts.

]]> By: aloki miyeyi http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105717 aloki miyeyi Thu, 12 Nov 2009 19:10:41 +0000 http://parterre.com/?p=9773#comment-105717 4.2 Repeating the same unfounded assertions again and again does not really change the facts: the Bondy Tosca was liked many more Met patrons than disliked it; Zimmerman's Lucia was well received by audiences and critics; Sonnambula was dismissed by the critics, hated by a minority of the audience, and liked well enough by the majority. And all three sold out most of their performances. 4.2
Repeating the same unfounded assertions again and again does not really change the facts: the Bondy Tosca was liked many more Met patrons than disliked it; Zimmerman’s Lucia was well received by audiences and critics; Sonnambula was dismissed by the critics, hated by a minority of the audience, and liked well enough by the majority. And all three sold out most of their performances.

]]> By: Sanford http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105716 Sanford Thu, 12 Nov 2009 19:10:03 +0000 http://parterre.com/?p=9773#comment-105716 Well if we're going to get technical, the first production telecast from the stage was: Metropolitan Opera House November 29, 1948 Telecast Opening Night {64} Edward Johnson, General Manager OTELLO {94} Giuseppe Verdi--Arrigo Boito Otello..................Ramon Vinay Desdemona...............Licia Albanese Iago....................Leonard Warren Emilia..................Martha Lipton Cassio..................John Garris Lodovico................Nicola Moscona Montàno.................Clifford Harvuot Roderigo................Thomas Hayward Herald..................Philip Kinsman Conductor...............Fritz Busch Director................Herbert Graf Set designer............Donald Oenslager Otello received twelve performances this season. [This was the first telecast from the stage of the opera house.] Well if we’re going to get technical, the first production telecast from the stage was:
Metropolitan Opera House
November 29, 1948 Telecast
Opening Night {64}
Edward Johnson, General Manager
OTELLO {94}
Giuseppe Verdi–Arrigo Boito
Otello………………Ramon Vinay
Desdemona……………Licia Albanese
Iago………………..Leonard Warren
Emilia………………Martha Lipton
Cassio………………John Garris
Lodovico…………….Nicola Moscona
Montàno……………..Clifford Harvuot
Roderigo…………….Thomas Hayward
Herald………………Philip Kinsman
Conductor……………Fritz Busch
Director…………….Herbert Graf
Set designer…………Donald Oenslager
Otello received twelve performances this season.
[This was the first telecast from the stage of the opera house.]

]]> By: mrmyster http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105715 mrmyster Thu, 12 Nov 2009 19:06:03 +0000 http://parterre.com/?p=9773#comment-105715 #10 Kashina, the first Met telecast to go outside New York City was opening night Der Rosenkavalier 1949; it went to various movie houses all over the country, though not many. It was more or less a flop -- really bad black and white image, and I think its failure played a role in discouraging such for another twenty to thierty years. Now, however, with Met Cenemacasts that are state-of-the-art in electronic transmission of image and sound, it's a very interesting story. It is to Gelb's very great credit that he brought this about, we cannot deny him that. Now....if he and the Met just had a young, vigorous, idea-filled Artistic Director, we just might be in clover. #10 Kashina, the first Met telecast to go outside New York City
was opening night Der Rosenkavalier 1949; it went to various
movie houses all over the country, though not many. It was
more or less a flop — really bad black and white image,
and I think its failure played a role in discouraging such for
another twenty to thierty years. Now, however, with Met
Cenemacasts that are state-of-the-art in electronic
transmission of image and sound, it’s a very interesting
story. It is to Gelb’s very great credit that he brought this
about, we cannot deny him that. Now….if he and the Met
just had a young, vigorous, idea-filled Artistic Director,
we just might be in clover.

]]> By: Clita del Toro http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-2/#comment-105714 Clita del Toro Thu, 12 Nov 2009 19:05:50 +0000 http://parterre.com/?p=9773#comment-105714 I remember the first Met telecast. Here it is. Metropolitan Opera House November 8, 1954 Telecast Opening Night {70} Rudolf Bing, General Manager GALA OPENING Pagliacci: Prologue Leonard Warren Conductor...............Alberto Erede La Bohème: Act I Mimì....................Victoria de los Angeles Rodolfo.................Richard Tucker Marcello................Frank Guarrera Schaunard...............Clifford Harvuot Colline.................Norman Scott Benoit..................Lawrence Davidson Conductor...............Alberto Erede Director................Joseph L. Mankiewicz Designer................Rolf Gérard Staged by...............Dino Yannopoulos Il Barbiere di Siviglia: Act II Figaro..................Robert Merrill Rosina..................Roberta Peters Count Almaviva..........Cesare Valletti Dr. Bartolo.............Fernando Corena Don Basilio.............Jerome Hines Berta...................Jean Madeira Sergeant................Alessio De Paolis Ambrogio................Rudolf Mayreder Conductor...............Alberto Erede Director................Cyril Ritchard Designer................Eugene Berman Stage Director..........Robert Herman [First appearance] Aida: Act I, Scene 1; Act II Aida....................Zinka Milanov Radamès.................Mario Del Monaco Amneris.................Blanche Thebom Amonasro................Leonard Warren Ramfis..................Jerome Hines King....................Luben Vichey Messenger...............Paul Franke Dance...................Mia Slavenska [First appearance] Dance...................Larry Boyette [First appearance] Dance...................Louis Kosman [First appearance] Conductor...............Fausto Cleva Director................Margaret Webster Stage Director..........Dino Yannopoulos Designer................Rolf Gérard Choreographer...........Zachary Solov TV Director.............Kirk Browning [This performance was relayed by closed-circuit to theaters throughout the United States.] I remember the first Met telecast. Here it is.

Metropolitan Opera House
November 8, 1954 Telecast
Opening Night {70}

Rudolf Bing, General Manager

GALA OPENING

Pagliacci: Prologue
Leonard Warren

Conductor……………Alberto Erede

La Bohème: Act I

Mimì………………..Victoria de los Angeles
Rodolfo……………..Richard Tucker
Marcello…………….Frank Guarrera
Schaunard……………Clifford Harvuot
Colline……………..Norman Scott
Benoit………………Lawrence Davidson

Conductor……………Alberto Erede

Director…………….Joseph L. Mankiewicz
Designer…………….Rolf Gérard
Staged by……………Dino Yannopoulos

Il Barbiere di Siviglia: Act II

Figaro………………Robert Merrill
Rosina………………Roberta Peters
Count Almaviva……….Cesare Valletti
Dr. Bartolo………….Fernando Corena
Don Basilio………….Jerome Hines
Berta……………….Jean Madeira
Sergeant…………….Alessio De Paolis
Ambrogio…………….Rudolf Mayreder

Conductor……………Alberto Erede

Director…………….Cyril Ritchard
Designer…………….Eugene Berman
Stage Director……….Robert Herman [First appearance]

Aida: Act I, Scene 1; Act II

Aida………………..Zinka Milanov
Radamès……………..Mario Del Monaco
Amneris……………..Blanche Thebom
Amonasro…………….Leonard Warren
Ramfis………………Jerome Hines
King………………..Luben Vichey
Messenger……………Paul Franke
Dance……………….Mia Slavenska [First appearance]
Dance……………….Larry Boyette [First appearance]
Dance……………….Louis Kosman [First appearance]

Conductor……………Fausto Cleva

Director…………….Margaret Webster
Stage Director……….Dino Yannopoulos
Designer…………….Rolf Gérard
Choreographer………..Zachary Solov

TV Director………….Kirk Browning

[This performance was relayed by closed-circuit to theaters throughout the United States.]

]]> By: kashania http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105713 kashania Thu, 12 Nov 2009 18:58:17 +0000 http://parterre.com/?p=9773#comment-105713 And the Met cinema broadcasts have inspired alot of other companies. Yes, La Scala has been doing telecasts for a long time (including the famous Bicentennial <i>Otello</i> with Domingo/Freni/Kleiber) but the Met cinecasts have opened a floodgate. I don't know about other cities, but here in Toronto, I'm always seeing ads in the paper for cinecasts of performances of the Royal Ballet and Opera from Covent Garden as well as other companies. And the <I>Phaedra</i> cinecast with Hellen Mirren must have also been inspired by the Met series. And the Met cinema broadcasts have inspired alot of other companies. Yes, La Scala has been doing telecasts for a long time (including the famous Bicentennial Otello with Domingo/Freni/Kleiber) but the Met cinecasts have opened a floodgate. I don’t know about other cities, but here in Toronto, I’m always seeing ads in the paper for cinecasts of performances of the Royal Ballet and Opera from Covent Garden as well as other companies. And the Phaedra cinecast with Hellen Mirren must have also been inspired by the Met series.

]]> By: kashania http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105712 kashania Thu, 12 Nov 2009 18:54:31 +0000 http://parterre.com/?p=9773#comment-105712 The first Met telecast was <i>Boheme</i> with Scotto/Pavarotti in 1977. The Scotto/Domingo/Milnes <i>Luisa Miller</i> came in 1979. The first Met telecast was Boheme with Scotto/Pavarotti in 1977. The Scotto/Domingo/Milnes Luisa Miller came in 1979.

]]> By: Will http://parterre.com/2009/11/12/from-the-house-of-the-gelb/comment-page-1/#comment-105709 Will Thu, 12 Nov 2009 18:40:04 +0000 http://parterre.com/?p=9773#comment-105709 Sanford--thank you very much for adding that--I realized after I posted that I should have said something of the sort. It's not just in French, of course--vocal production and tone color are heavily connected to how a language is spoken with French, Slavic and various Asian singing traditions connected to where in the mouth and throat spoken sound is produced. Sanford–thank you very much for adding that–I realized after I posted that I should have said something of the sort. It’s not just in French, of course–vocal production and tone color are heavily connected to how a language is spoken with French, Slavic and various Asian singing traditions connected to where in the mouth and throat spoken sound is produced.

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