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. Read more »
Alan Gordon has mass emailed AGMA again (this time, principal artists), and La Cieca’s got a copy of the missive. Read more »
Short answer: yes. But let’s begin by dismissing 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 greater New York Metropolitan area has 20 million people. 54.3 million tourists visited New York City in 2013. Many millions of people attend theater performances in New York City each year. Those numbers suggest to me that with an astute artistic approach, enhancements to the experience of attending the Met, outreach, marketing, ticket pricing, and a more sensible budget, the Metropolitan Opera should be able to thrive while producing 200 or more performances per season.
So what, specifically, will bring an audience to the Met for all those performances? Read more »
The Met’s financial challenges are not meteorological, demographic, or cyclical; they are structural.
“When you read, and credit, the more feverish musings of the internet chatterati, there is some kind of British invasion storming the bastions of American opera.”
The repertory for the upcoming season of the English National Opera (also known as “Peter Gelb‘s shopping list”) boasts the world premiere of a new opera by Philip Glass, The Perfect American, which imagines the last days of Walt Disney.
“After putting off for a week trying to make some sense of the horrific mess that is the Met’s new Faust, I’m finally just going to give up. There are some disasters that bear writing about as what you might call teaching opportunities: this season’s Don Giovanni, for example, as a cautionary tale about the perils of timid conservatism. But there’s nothing to be learned from this Faust besides, perhaps, ‘never hire Des McAnuff to direct another opera under any circumstances’.” [Musical America]