On Monday, the Met kicks off its 132nd season with a new production of Wagner’s Tristan und Isolde by Mariusz Trelinski, with Sir Simon Rattle leading a premiere cast of Nina Stemme, Ekaterina Gubanova, Stuart Skelton, Evgeny Nikitin and René Pape (not pictured). Read more »
The Met’s 2016-2017 season opens on September 26 with a new production of Wagner’s Tristan und Isolde, conducted by Sir Simon Rattle, directed by Mariusz Trelinski, and starring Nina Stemme and Stuart Skelton. The season will include the Met premiere of Finnish composer Kaija Saariaho’s 2000 opera L’Amour de Loin, as well as new stagings of Rossini’s Guillaume Tell, Gounod’s Roméo et Juliette, Dvorak’s Rusalka, and Strauss’s Der Rosenkavalier. Read more »
La Cieca can only go on for so long parsing statements like “So for now Mr. Levine and the Met are watching and waiting to see how he responds to his new regimen. Mr. Levine said that he hopes he is not done yet as music director.” It’s up to you, cher public, to try to decide for yourself what, if anything, this bizarre story in the New York Times means.
“In a fiscal year that challenged the nation’s largest performing arts organization to find a more sustainable financial model for the future, the Metropolitan Opera incurred an estimated $22 million budget shortfall for the 2013-14 season.”
La Cieca has come into possession of an interesting presentation, with fonts and everything, from Local 802, American Federation of Musicians, and the Metropolitan Opera Orchestra, outlining their solution for the current financial crisis at the Metropolitan Opera.
Your conduit to the spirit world, La Cieca, isn’t feeling quite as clairvoyante as usual today, cher public, so she’s going to ask your help in predicting what will happen in the course of the Met’s current labor negotiations.
Alan Gordon, embedded journalist, reports from inside the first AGMA/Met negotiation session.
Peter Gelb sent out an email to the “Public Bulletin Board” earlier today, noting that “inaccurate rumors [are] flying around” and attempting to clarify the Met’s position on upcoming union negotiations.
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.