Metropolitan Opera won’t resume for a year

Metropolitan Opera won't resume for a year

With a budget of around $300 million for the regular season, The Met, the nation’s largest performing arts organization, is taking a series of steps to ensure survival and adapt to a changed world. We’re releasing the entire 2021-22 season a few months ahead of schedule, in part, to convince those who bought tickets to the canceled performances (already about $20 million of tickets have already been sold) to exchange them for the newly released opera. I hope there is.

“Fire Shut Up in My Bones” is one of three contemporary pieces at the Met next season. It is the most numerous work since 1928. “Eurydice” by Matthew Aucoin and Brett Dean’s “Hamlet”) The Met will be presenting the original 5th act, French version of Verdi’s “Don Carlos” for the first time, and David McVicar’s new production will be directed by the company’s music director Yannick Nézet-Séguin.

New productions are also made of Verdi’s “Rigoletto”, directed by Bartlett Sher, and Donizetti’s “Lucia di Lammermoor”, directed by Simon Stone, who directed “Yerma” at Park Avenue Armory. Caused a sensation Veteran soprano Nina Stemme will be starring alongside Lise Davidsen, an up-and-coming song in Strauss’ “Elektra”. Lise Davidsen also appears in the composer’s “Ariadne auf Naxos” and Wagner’s “Die Meistersinger von Nürnberg”. “Die Meistersinger” returns to the Met for the first time in decades, conducted by Antonio Pappano, music director of the Royal London Opera. And Susanna Malkki will lead Stravinsky’s “The Rake’s Progress”. She is one of the top five female conductors in Met history.

Gelb said that even when the Met could open again, the audience would be slow to return. So, the company will add more early 7pm curtain times people asked for in the survey. We will shorten some operas, uninterrupted release of Mussorgsky’s “Boris Godunov” for two and a half hours. Handel’s “Rodelinda” trimming; Removed the second intermission from Puccini’s “Madama Butterfly”. Expanding the services for families, we will be introducing a new 90-minute English “Cinderella” adaptation of Massenet’s “Cendrillon” and the popular shorthand “Magic Flute”.

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And Met will work to increase the diversity of its offerings. “Fire My Bones” was originally planned for a later season, but Gelb decided it should take place next year as demands for racial justice resonate in the country and the music community. The comeback season we met. The company is also adding three black composers, Valerie Coleman, Jessie Montgomery, and Joel Thompson, to their commissioning program run with Lincoln Center Theater.

“We’re trying to signal that the Met wants to meet the times we live head-on,” Gelb said. “Given all the demands for greater social justice and diversity, we think it’s appropriate to return to a way that demonstrates Met’s social responsibility after a year of vacation.”

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