The Sound Post » Metropolitan Opera

Met Names Principal Guest Conductor

Colin Oettle — Fri, 30 Apr 2010 04:14:59 +0000

The Metropolitan Opera recently named Italian conductor Fabio Luisi its principal guest conductor—only the second time a conductor has held the title. Although the three year contract is unrelated to James Levine’s recent absences due to illness, Luisi will act as the go-to conductor for any future performances Levine may miss.

Maestro Luisi has periodically conducted at the Met since 2005, and was already scheduled to lead several performances next season. He is currently the chief conductor of the Vienna Symphony Orchestra, and is scheduled to become the music director of the Zurich Opera in 2012. His post as principal guest conductor will both allow him to become more familiar with the company and its orchestra, and act as reassurance for the staff in the event of any further absences. Peter Gelb, The Met’s general manager, acknowledges that while Luisi has the expertise to succeed James Levine, that scenario is not yet a consideration. Neither Gelb, or Luisi have any anticipation of Levine stepping down, and assert that the Met can simply enjoy its newest resident Maestro.

via The New York Times.

New Jersey Symphony Orchestra Gets New Maestro

Colin Oettle — Mon, 26 Oct 2009 05:10:12 +0000

The New Jersey Symphony Orchestra announced that Jacques Lacombe will succeed Neeme Järvi as music director. The 46 year old French Canadian is joining the organization during a period of frozen wages and a reduced concert schedule with the intent of revitalizing both orchestra and audience.

Lacombe says that in order to invigorate the classical scene a conductor must be inventive with his programming. While his preferences lean towards 19th century repertoire with 20th century classics, Lacombe remains fluid with his vision, saying that he doesn’t “want to be labeled,” and that he is still “discovering things.”

While the Ledger regards Lacombe as “untested,” he has many conducting credits including the Met. Where Jäarvi brought experience and renown, Lacombe will hopefully bring new energy and perspective.

Source: The Star Ledger

A Night At The Met: Verdict – They Still Got It

Ian — Mon, 19 Oct 2009 22:05:33 +0000

Most news coming from the Metropolitan Opera these days has not been uplifting. From the boos toward director Luc Bondy after Tosca, to the similar signs of vexation shown to maestro Daniele Gatti after Aida, this native New Yorker is a tad worried that we are developing a penchant for being ~~hard~~ impossible to please. Could this reputation possibly prevent performers from coming to New York? Probably not, since New York is “where dreams are made,” after all. However, I’m afraid we may yet become known as a city full of critics—not the art lovers and appreciators we are. Because I had not yet visited my favorite opera house this season, I splurged and purchased tickets for myself and a musician-colleague to Friday night’s performance of Der Rosenkavalier featuring Renée Fleming.

Perhaps it was the mediocre review given by the New York Times on Tuesday’s opening night, the flowing negativity for the other two productions currently at the venue, or the absence of James Levine, but let’s just say that I was hesitant to purchase last-minute-tickets for the sold out show (thanks to allshows.com for the tickets, but damn you for the 200% inflation without even delivering them to will-call). Upon arriving and immediately ordering champagne with the last of my cash, I took my seat.

The first thing I noticed was the number of empty seats. I won’t dwell on this for long, but seeing a sold-out theater with many vacant seats certainly makes me wonder. Although I was sitting in Family Circle—the highest seating section at the Met, where some seats were likely reserved for absent subscription holders—I would bet that many tickets were still sitting on unsuccessful scalpers’ desks. For those thinking, “at least the tickets were sold,” please read my article on the Pittsburgh Symphony Orchestra, which despite perennially outstanding ticket sales, is experiencing a half a million-dollar deficit. These companies survive on gifts and donations. Getting people in the seats is only the first part of that process.Ok I’m done with that topic, I promise.

The curtain opens, Renée Flemming and Susan Graham are truly a match made in heaven. They last paired in 2000 for a performance of the same opera, to rave reviews. I realize how fortunate I am to see them opposite each other. Baron Ochs is hilarious. Icelandic bass Kristinn Sigmundsson exemplified the perfect balance of power and “boring” I thought his role demanded. Newcomer Miah Persson, as Sophie, besides from being absolutely gorgeous, has not only the power so often lacking in her role, but also amazing acting skills. More on that soon though.

Act II, the scene I am most looking forward to is coming up, the Presentation of the Silver Rose. The set was the most breathtaking work I have ever seen. Image: Graham walks in from a sub-stage staircase dressed in all silver, servants line the extravagant spiral staircases, cue the horn fanfare, and a not so subtle gasp from everyone in the audience signals our profound appreciation. I forget all about the recent attack on my bank account. Thank you Maestro Edo de Waart for giving us a moment to appreciate this. The pause might have lasted mere seconds, but it seemed like an eternity, and I felt like I was in the scene for the rest of the act. I wanted to applaud, absolutely sensational… and on a similar idea, the Maestro knew exactly when to do this at other points in the opera (such as the renown Act III trio).

If you are familiar with the opera, you spend much of Act II waiting for the initial moment between Octavian and Sophie. You know what I’m talking about, the look that says more than words can. It can be the most subtle thing in the world, or grandiose and overdone. We know how everything ends, but the first glance of star-crossed lovers can burn an image in your brain forever. So how was it?

The tension was palpable, and even more important, the romance was believable.

I wouldn’t be doing my job if I just raved all day and night about how much I loved the trio in Act III, or the period costumes which made Flemming truly look like an Austrian princess. I want to address something else…

During one of the (lengthy) intermissions, I had the pleasure of speaking with several other members of the audience. My goal: to track down someone who attended the opening of Tosca. Mission accomplished, with a lovely couple from central Jersey who have had a subscription to the Met for 38 years. Got that? 38 years! I’m quite comfortable posting their comments online.

I asked them about Tosca, and they enthusiastically praised the production. I followed up with an inquiry into the audience’s reaction to director Luc Bondy. They were passionate in saying that the booing was not a universal reply, but centralized to specific clusters of the crowd (and not just the expensive orchestra seats). Details of the premiere performance emerge: on-stage nudity, sexual acts (we’re talking well beyond the under-the-covers stuff), things start to click into place in my mind.

What am I getting at? Nothing really, just that I’m happy I threw caution to the wind, went with my gut and respect for the Met which has been earned via decades of good performances, and spent my Friday night at the opera. It was one of the best productions I have seen in years. My colleague, for who this was the first time at the opera, is counting down the days until Madame Butterfly. If you take anything from this article, let it be that when it comes down to reviews, booing or applauding, only one opinion matters, your own.

Not So Warm Welcome for Gatti

Ian — Mon, 05 Oct 2009 20:31:54 +0000

The beginning of Fall has different meanings for everyone. Some love the changing colors, the cooler temperatures, or as is the case with this writer, the exodus of summer tourism from New York City. All kidding aside, the beginning of the concert season for the country’s major orchestras and opera companies is always an interesting sight. Opening night reviews can truly make or break a ~~career~~ season. The introduction of Gustavo Dudamel with the Los Angeles Philharmonic was met with spectacular reviews, much as Alan Gilbert with the New York Philharmonic.

Unfortunately, not all welcomes are quite so warm… On Friday, Verdi’s Aida returned to the Metropolitan Opera under the baton of Daniele Gatti. Perhaps feeling empowered after recently destroying Luc Bondy’s self esteem, the audience greeted Gatti with a wave of boos following the performance, despite applauding energetically for the singers.

Whether or not the boos were deserved is personal opinion. The patrons of the Met opera are known for being outspoken to say the least. If the majority of the crowd was disappointed, then I say the boos were justified. Perhaps I have seen too many concerts where the ten loudest people in the audience swayed the entire opinion of the hall with their over-the-top dismissal and protest. Then again, I was not in the audience on Friday evening.

Is this a step in the right direction? Are the days of snoring and expected standing-ovations a thing of the past?
Original article on nytimes.com

James Levine Out For 3 Weeks

Colin Oettle — Sat, 03 Oct 2009 17:19:20 +0000

James Levine, Music Director of the Boston Symphony Orchestra and the Metropolitan Opera, was set to conduct the opening concert at Carnegie Hall this season. However, he will not be seen on a podium for the next three weeks, as Maestro Levine will soon undergo back surgery to repair a herniated disk.

Although Levine will miss some high profile performances, such as the first performance of Tosca with The Met, the operation comes at a time when Mr. Levine had already canceled performances due to extreme back pain. According to his doctors, having the surgery will prevent further damage and hopefully allow him to return to his assorted posts quickly and with renewed vigor. Source: NY Times Music.