Cher Public

Here he comes to save the day

Yannick MetLa Cieca called it, mostly: Yannick Nézet-Séguin will the the Met’s new music director, taking on full official duties in the 2020-2021 season. The new maestro and Peter Gelb make it official in a live video stream starting at 10:00 AM today.

  • antikitschychick

    Ughh what is that “a” between is and awesome doing there? Apologies. Guess I was a bit too excited lol.

  • Operanaut

    TT is hardly the only one making the “YNS doesn’t care about contemporary composers” argument -- Alex Ross says the same in his New Yorker piece. IMO it’s a very delicate balancing act the Met needs to strike. They are already having trouble filling seats, so getting too radical probably isn’t something that’s going to happen, regardless of who’s in charge. However, I’d like to see them set a goal of at least two operas each year from the latter half of the 20th century or beyond -- surely that is doable.

    • Operanaut

      2015-16 was almost comically conservative.

    • blansac

      One thing the Met has done in the past has done is have a very limited run of an opera for the hardcore fan at the end of a season. Billy Buddy had only three performances. I think Rake’s Progress maybe five.

      Would like to see the Met do something with newer operas. Give the new opera three or four shows at most. Use these as chances to try out new up and coming directors. Maybe conductors and singers too. Slash the production budget for these tremendously. This is because, in all likelihood, the production will never appear again. Minimal budget will also force those involved to get even more creative. It’s possible rehearsal time also gets slashed to minimize the budget.

      Start with just one slot and if it’s successful have two slots per year for modern operas. (Six or seven shows total.) Do not schedule these five years in advance, so if a show is a success it can be repeated in three years. If a show is a major smash and a talent has been uncovered, then give that composer a full run somewhere down the line.

      Right now there is this game being played that modern operas are just as worthy as being on stage as the classics. A new opera comes out, there’s straight-faced declarations that it holds its own with the best of the rep, plays to half-empty houses and never appears again.

      Recent examples, Ades’s The Tempest and Muhly’s Two Boys. It looked like a lot of money was spent on these productions. They were given a full run. Neither sold that well. I don’t think many are clamoring to see them again.

      People will bitch and moan that’s it unfair to have a two tier system. There’s nothing wrong with two tiers. It’s accepting the obvious that most modern operas are not going to make it into the rep and do not deserve to be treated as those that have. A system like this exposes more composers/directors to the public. It’s going to be much more possible to take major risks with directors.

      These could also draw a younger crowd that only goes to the modern/cheaper-production operas because these will not be one’s grandparents operas.

      • Howling in Tune

        I hated The Tempest, but I thought that Two Boys very much deserved a mainstage production.

    • Howling in Tune

      Hasn’t the Met been doing that for most of the past few seasons?

  • mirywi

    Cutting rehearsal time for a new work ensures a slapdash performance and failure.