The redevelopment that took place at Lincoln Center during Reynold Levy’s tenure as president of Lincoln Center represents a considerable accomplishment. One can can question decisions, priorities and outcomes (devoting precious plaza real estate to a very good, but very expensive restaurant; the awkward, treacherous path from the Met through a Brian de Palma-inspired tunnel to the subway), but Levy deserves recognition for the combination of fundraising savvy, stubbornness, and leadership he displayed in getting this done. Surely, there’s an interesting saga to told. Unfortunately, Levy’s ponderously titled memoir They Told Me Not to Take that Job: Tumult, Betrayal, Heroics, and the Transformation of Lincoln Center doesn’t tell it. Read more »
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 »
The celebration of 50 years of the Mostly Mozart Festival at Lincoln Center includes “The Illuminated Heart,” a theatrical fantasy of Mozart operas and ensembles featuring Christine Goerke, Ana María Martínez, Matthew Polenzani and Peter Mattei; plus staged concerts of Così fan tutte and Idomeneo. Tickets and more information are at MostlyMozart.org. 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 »
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.