“Union members have occupied Paris’ Opera Garnier in a protest over proposed changes to labor rules for theater workers.” [AP]
“Opera can, in fact, be something beautiful and moving even when all a performance has going for it is some really excellent singing. And that’s what the Met has served up in its current revival of Bellini’s La Sonnambula, vocalism so splendid it hardly matters it’s happening in a dramatic vacuum.” [New York Observer]
The 2012-13 season at the Metropolitan Opera was a financial disaster, with the company taking in only 69% of potential total box office revenue—a troubling 13 percent decline from the previous season and the lowest box office percentage in over a decade. Thanks to discounting, the Met did manage to sell 79% of total seats but that, too, was another low. Read more »
In a slight detour from the usual all-opera-all-the-time format of parterre box, the queer opera zine, issue #44 centers on Ben Letzler‘s superb appreciation of film and cabaret diva Zarah Leander.
“The finale of Sweeney Todd left the stage of Avery Fisher Hall littered with corpses, but the evening, for all its flaws, felt vibrantly alive.”
Just in from the Met: “Daniel Sutin will sing the title role in tonight’s performance of Berg’s Wozzeck, replacing Thomas Hampson, who is recovering from bronchitis.”
This afternoon at the Met, Grigolo sold his performance like the rent was due tomorrow and he was down to his last penny.
Recently, opera showed up at both Mets, the Metropolitan Opera and the Metropolitan Museum of Art.
It’s been a bitterly cold winter in NY. When it’s bitterly cold, the air is dry.
parterre box has obtained a memo sent to artists’ managers in which AGMA Executive Director Alan Gordon warns singers contracted to sing at the Met in the 2014-2105 season that due to unpromising developments in upcoming labor negotiations the company may be dark for part or all of the season.