Tag Archive: Metropolitan Opera

Vivica Genaux, who is about to tour the U.S. with Europa Galante and Fabio Biondi, talks to Michael Miller, Part 1 of 3

[Read Part II] [Read Part III] Vivica Genaux will tour the U. S. with Fabio Biondi and Europe Galante in February with a spectacular program based on their best-selling recording Vivaldi Pyrotechnics. I was fortunate to catch her in New York…
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James Levine Withdraws from Met Conducting Assignments through the End of Next Season; a Word for Jonas Alber

The Metropolitan Opera has released the following announcement, which comes as no surprise. What struck me above all is that Fabio Luisi was not able to conduct the last two performances of Siegfried and Götterdämmerung on May 9 and May 12 matinee. I very…
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Live in HD? Donizetti’s Anna Bolena from the Met in Pixels

The audience poured out of the auditorium, through the lobby, and out into the parking lots with such a happy general purring that it seemed villainous to criticize the brave new entertainment Peter Gelb has brought the world. For almost five years now we have been able to watch High Definition video projections of performances at the Metropolitan Opera in movie theaters and auditoriums like the one at the Clark Art Institute, which I had just vacated. HD Live, as it’s called, has become a hit in most places, I hear—certainly in Great Barrington and Williamstown, where I’ve seen them, mingling with a dense, enthusiastic, mostly mature crowd. It’s often harder to get a ticket to one of these projections than it is to get a seat at Met itself.

What could be more commendable than creating a show that provides so much enjoyment? It brings opera to a vast global audience at reasonable prices, and at various times in the past half-century many have feared opera was in danger of dying out altogether, either from the expense of production and operation or the sheer irrelevance of its elitist origins. The Met opera broadcasts, which began in the early 1930s, changed many lives and, in synergy with the Metropolitan Opera Guild and Opera News, helped raise significant sums of money for the Met during the Great Depression, when the house desperately needed funds and people needed cheap entertainment. Are the times not similar today? The broadcasts only created more opera-lovers, and what possible harm could they do? (Actually I know of one example, but I’ll leave that for another time.) Wouldn’t the HD transmissions, with their spectacular images and vivid sound bring even more good into the world?

Gluck’s Iphigénie en Tauride at the Met with Susan Graham and Plácido Domingo

What a splendid idea to revive Gluck’s final masterpiece, Iphigénie en Tauride, on two great stages at opposite ends of the continent. Gluck, the great reformer, has been too long little more than a chapter — or, worse — a section of a chapter in music history books, and recent attempts to bring his works to life on 21st century stages are for the most part commendable, whether they succeed or not, although I did sense a touch of cynicism in the excruciatingly fashionable Orphée of Mark Morris and Isaac Mizrahi — and a fashion statement (or ad) is not what we want in these unmitigatedly dignified works.

Debussy’s Pelléas et Mélisande at the Metropolitan Opera House

Metropolitan Opera House December 20, 2010 Claude Debussy Pelléas et Mélisande Libretto by Maurice Maeterlinck Pelléas – Stéphane Degout Mélisande – Magdalena Kožená Golaud – Gerald Finley Arkel – Willard White Genevive – Felicity Palmer Yniold – Neel Ram Nagarajan…
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