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We never see a headline about a breadline today

barbie-hates-mathRemember those figures you read yesterday in the New York Times citing salaries of the heads of the Metropolitan Opera, the Brooklyn Academy of Music, the New York Philharmonic, the Philadelphia Museum of Art and New York City Opera? Well, not so much. In fact, Zarin Mehta‘s reported compensation was off by only 230%. [NYT]

26 comments

  • Henry Holland says:

    From the link at #8:

    This makes me angry, when there are so many talented young (and old) composers out there, who in their dizziest daydreams would not receive an iota of the amount of exposure that Wainwright’s dreary little effort has managed to achieve, let along get it staged at Sadler’s Wells

    That’s the bottom line for me. Wainwright didn’t write the opera, he had professionals take his tunes and rip-offs and turn them in to a score.

    Next we’ll get Nico Mulhy, who cute as he is, has shown no talent whatsoever for writing music over large expanses or with any harmonic interest. But hey! it’ll get those 25 year old hipsters who show up queuing to buy season subscriptions to the 9 millionth Traviata and La Boheme, so all will be well, right?

  • willym says:

    Oh my god! Not snide and bitchy! Not at the same time -- I am shocked because heaven knows I’ve never seen that in anything here. Just well reasoned, unbiased observations without malice or …. oh who the hell am I kidding.

  • BETSY_ANN_BOBOLINK says:

    Gee, Willy, I dunno. Ya fooled me!

  • Clita del Toro says:

    I have only seen Wainwrong once-- the “Judy Garland” Concert.
    His cutesy, faux-”reine Tor,” “gay” personality was bad enough, but his singing was beyond atrocious. He had not the faintest idea of what to do with the songs, what they were about nor how to sing them--no style whatsoever. What a jerk!
    The audience ate it up and made me want to puke.

  • PirateJenny says:

    I much prefer his sister Martha. I find her cover of Leonard Cohen’s The Traitor to be absolutely devastating.

  • longtimelistener says:

    All this talk about Gelb’s salary is kind of funny because on a per opera basis the real fat cat is George Steel. $360K to produce 5 operas? 4 of them revivals? I guess “right sizing” NYCO and cutting the orchestra and chorus gauranteed weeks didn’t include “right sizing” Mr. Steel’s take home.

    By way of contrast it appears the artistic director of Santa Fe makes about $130K to produce 5 operas, 3 of them new productions and he has to maintain residences in NY and Santa Fe. So please, no bs about how poor George has to live in super-expensive NYC, m’kay?

    Once again the NYCO board appears to be absenting itself from its fiduciary responsibilities. No wonder they can’t get any big donors interested. I wonder exactly when the money at NYCO will run out…