James Levine turns 72 this year. Even though his health has improved considerably in the past year and he may continue to conduct for a decade or more, it seems inevitable that he will step down as the Met’s Music Director sometime in the next few years to assume the role of Conductor Laureate. This is why the role of Principal Conductor is so critical to the company; the person in that role serves as the unofficial successor to Maestro Levine. Read more »
For my 2014 retrospective, I’ve chosen two shows from the past year that are returning in 2015 and that really shouldn’t be missed by NY-based-and-visiting parterriani. Read more »
Last week, Moody’s Investor Services delivered yet another piece of yet another piece of bad news for the Metropolitan Opera. They downgraded the Met’s debt offering one grade from “A3″ to “Baa1.” They justified the lowered rating by pointing to the estimated $22 million dollar operating deficit in the fiscal year ending in July 2014 and the Met’s decision to borrow more money using their Chagall murals as collateral. Read more »
This past week of contract negotiations at the Metropolitan Opera has been notable for the absence of any new PowerPoint presentations or fustian proclamations.
In response to repeated urging by La Cieca, Our Own Dawn Fatale has contributed a “to do” list for the benefit of Met management, assuming the company makes it out of this summer alive.
For those of you still queasy after Mary Zimmerman’s sophomoric snarknado attack on Bellini’s La Sonnambula, the new DVD of the Stuttgart Opera production should provide a bracing restorative.
Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.
Short answer: yes. But let’s begin by dismissing the a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.
The Met’s financial challenges are not meteorological, demographic, or cyclical; they are structural.
Marc-Antoine Charpentier’s opera David et Jonathas, written for a celebration at a Jesuit school in 1688, premiered together with a Latin verse drama, Saul, now lost.