The problem is not the messenger, but the product. You can silence the messenger, but the public recognizes travesties when it sees them. That's what the Met is serving up, and that's what Gelb should be fixing.
I agree with A8 -- as I once remarked after a grueling 4 hours of FAUST: "Doesn't anyone see these things before they foist them onto an unsuspecting public?" And I got an AMEN! from two of the ushers.
Mr. Gelb should really be looking at his own housekeeping before trying to censor what's being said. Is he Republican, per chance?
I didn't like the Faust, but hasn't he had as many hits as he's had misses?
Bartlett Sher's Barber of Seville Anthony Minghella's Madam Butterfly Patrice Chéreau’s From the House of the Dead Phelim McDermott and Julian Crouch's Satyaghaha
And the line-ups of singers have been world-class.
Well, at least two of the productions you mention (SATYAGRAHA and HOUSE OF THE DEAD) originated elsewhere, so if he was good at anything, in those cases, it was finding pre-existing hits and bringing them to the Met. Most of the original productions under his regime have been duds.
Yes he has, PJ, but the productions you've mentioned are from several years ago; lately there seems to be one dud after another. (Although I did love THE ENCHANTED ISLAND.)
This isn't isolated to Gelb alone; his predecessors had spotty track records as well. What I take issue with is his trying to censor what get's written about The Met -- I understand that Opera News is a publication of the Met Opera Guild, but nevertheless his stance makes him, and the organization, seem petty and thin-skinned.
I've got no problem--well: I've got less of a problem--with bad productions, especially if they are a symptom of a house's taking artistic chances and trying to explore the medium.
I've got huge problems with an Arts Organization that stifles criticism--it's so fundamental to the life of a work of Art.
The 'Opera News' reviews referenced in the article were strongly-worded and very critical, but they represented an informed and passionate point of view. That is precisely the sort of feedback that--in my opinion--a serious artist needs (and wants) to hear.
Those Opera News reviews will find a home on parterrebox.com.
Whether he originates the productions or brings them in, between the great singers, the fresh productions and the HD broadcasts, he's done more good than he's done harm.
I don't mind him being a little controlling. Isn't that part of being an opera impresario?
If the content of the reviews is just 'bitchery', it should pose no threat to an august house like the Met.
If the content is valid, it might be valuable if attended to.
The notion that valid criticism is going to dampen the Met's audience presumes that the audience is too timid or too intellectually lazy to take some chances in their opera-going. This may be a valid concern, but then Gelb should just keep putting up Zeffirelli's Traviata and not waste the money on Willy Decker. It seems like he wants to guarantee that his choices will be universally judged to be triumphs. Very Kim Jong Il.
Well, at least two of the productions you mention (SATYAGRAHA and HOUSE OF THE DEAD) originated elsewhere, so if he was good at anything, in those cases, it was finding pre-existing hits and bringing them to the Met. Most of the original productions under his regime have been duds.
After Eight- I tend to agree with you that I've found the productions at the Met of late to be lacking- but do you blame Gelb/the productions or the singers? Other than Netrebko and Fleming (when cast correctly) I find the females to be very lacking. The men aren't usually offensively bad, but most of the tenors are pretty bland, with Florez the exception.
I don't think the fault lies with the singers. Many are excellent, if not all that exciting. Maybe they're not as unique as those of the past, but hey, what is?
It's definitely the productions. Everything is so distorted to the point of absurdity. It's a wonder that the singers can do as well as they can under the cirumstances. They are truly up against it.
I could do without some of Gelb's "favorites"--like that awful Russian woman who got the new productions of DON CARLOS and LA TRAVIATA. Or Dessay in TRAVIATA--a decision made to sell tickets with no regard for the score.
I must add my (utterly tuneless) voice in defense of Natalie Dessay. And what of Elina Garanca and the fabulous Joyce DiDonato?
Non-bland men would have to include--in addition to the amazing Jonas Kaufmann--the Peruvian Juan Diego Florez, Rene Pape and Simon Keenlyside--who's head-shot I would totally have in my locker if I still had a locker...
I think Dessay is the worst offender at the Met right now. I've seen her three times, hoping I'd caught her on an off night given her fame, but alas I'm just not a fan. Her voice is thin and she has no excitement in the coloratura passages. She barely even attempts an thrilling jumps or improv notes. She's been heralded as the new Sutherland/Sills/Gruberova, but she doesn't even near their greatness.
Diana Damrau is pleasant (I saw her Fille du Regiment), and definitely has a warmer presence than Dessay, but really doesn't wow at all during any of the exciting passages- especially the music lesson. For an AMAZING lesson check out Sills here: http://www.youtube.com/watch?v=awHZJ8AvBa4 (go to about 5:30 if you don't want to hear the whole thing).
PJ- I will give you that Graham and Voight are good, and yes Addison I forgot about DiDonato.
I have yet to see Jonas Kaufmann, but since both of you rave I'll check him out next season.
I know a lot of this is personal preference, but I find most of the singers to be very competent, but rarely excite.
I like Dessay. In certain roles. Violetta is definitely not one of them. And I don't find her "acting," on which she's so roundly touted, to be anything more than run-of-the-mill.
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joined:5/17/12
Posted: 5/21/12 at 11:33pm