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. One can only hope that this means that serious negotiations are, in fact, taking place. While we all sit huddled in Dante Park, telephoto lenses trained on the Grand Tier, eagerly awaiting news, we pass the time in speculation. Some thoughts after the jump. Read more »
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.
Stefan Herheim’s production of Parsifal for Bayreuth is the regie Holy Grail—a production that completely fulfills the promise and purpose of Regietheater.