By James Jorden
It’s not hard to guess why Peter Gelb would choose to import a recreation of the original production of Nixon in China instead of devising a new staging from scratch. It would hardly be prudent to blow a million dollars on a six-performance run of a work unlikely to be revived any time soon, and surely the Met’s General Manager felt he should offer an olive branch to Peter Sellars after the snub of Dr. Atomic.
On the other hand, if I wanted someone sensible and kind running the Met, I wouldn’t have voted for Peter Gelb. (more…)
By James Jorden
New Year’s Eve may have marked a significant turning point for the Gelb administration at the Metropolitan Opera. The replacement of the “beloved” Franco Zeffirelli Traviata extravaganza with a lean, mean non-literal staging has garnered rapturous reviews and strongly positive audience reactions. The single reported boo for director Willy Decker’s production team (someplace over house left in Orchestra) was, from where I was sitting, drowned out by applause and moderate cheering- though, to be perfectly accurate, there weren’t many shouts of “bravo.”
The point, though, is that the sky hasn’t fallen. Big Bad Regie hasn’t chased the audiences away from the Met. Remaining performances of the run, including tonight’s, are heavily sold, and rumor has it that the production will be revived in the next two seasons. So, what went right? Why is Traviata the triumph that Tosca or (thus far) the new Ring is not? (more…)
By James Jorden
The opening of a new production of La Traviata at the Met tonight offers an ideal opportunity to address a fact of modern operatic life, the booing, apparently reflexive, of the director and production team at the first night’s curtain call.
Now, booing and other expressions of disapproval have a long history in the opera house. Likely the public was booing opera singers long before anyone booed professional wrestlers or baseball players. I’ve always thought that the famous climactic scene in Dangerous Liaisons, when Marquise de Merteuil gets read to filth by the audience at the opera house, gains in power when we remember that their hissing actually has a specific meaning in the context of a theater. (more…)
By James Jorden
What makes a dedicated opera queen (well, anyway this dedicated opera queen) sad? Well, it goes like this: the General Manager of the Metropolitan Opera hosts a panel discussion to introduce the company’s upcoming new production of La traviata, the first non-Franco Zeffirelli take on Verdi’s tragedy to be seen there in over two decades. No tears yet? Bear with me. (more…)