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Cher Public

  • Feldmarschallin: Well nobody said that they performances were at the Met. There are still a few other houses... 3:49 AM
  • tiger1: I think I read somewhere that DiDonato will no longer be singing Semiramide, at least not at the Met.... 3:37 AM
  • tiger1: Dear GU, Yes, Desdemona might be terrified and fearing for her life when singing the Ave Maria... 3:29 AM
  • steveac10: I get importing him as Caliban. Just like they used to bring Senechal in for Hoffman. Sometimes it... 3:25 AM
  • MontyNostry: Maybe because he was at the Met less than a year ago in Die Fledermaus. 3:24 AM
  • Baritenor: Alan Oke is exceptional, let’s not mince words. I can think of very few tenors who could... 3:12 AM
  • Greg.Freed: I find it a little depressing etc. I never know when anyone’s kidding here anymore.... 3:08 AM
  • Cicciabella: Lady, last year’s concert was better. For one thing, she was alone. She came out, warmed... 2:47 AM
  • Cicciabella: O’Neill was very promising, covering at the Met for years. I don’t think he’s... 2:30 AM
  • Feldmarschallin: Germany or Sweden it’s all the same no? 2:26 AM

Let the shortfall! When it crumbles we will stand tall, face it all together

A press release from the Met grippingly begins, “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, it was announced today.” Read more »

The seven percent solution

Anna NetrebkoYou figured it out a fortnight ago, cher public: “The Metropolitan Opera… said Wednesday that it was also asking its solo singers voluntarily to lower their fees, including some of opera’s biggest stars.” [New York Times]

Fun with graphs

UPDATE: The Met has responded to the presentation from Local 802 et. al.

PREVIOUSLY: 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. You may not be surprised to learn that their cost-saving stratagems include slashing the company’s budget for new productions, media and administrative costs, while increasing pay to the orchestra. Read more »

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Séance on a partly cloudy afternoon

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.

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War zone

Alan Gordon, embedded journalist, reports from inside the first AGMA/Met negotiation session.

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Rumors addressed

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.

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gelb

The Met: What is to be done?

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.

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Spring breakers

Alan Gordon has mass emailed AGAM again, and La Cieca’s got a copy of the missive.

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The Met: Can it be saved?

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.

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The Met: what’s really wrong?

The Met’s financial challenges are not meteorological, demographic, or cyclical; they are structural.

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