Metropolitan Opera
The Operatic Canon: Forgotten Chestnuts and Poisoned Violets
As a genre, opera is not a high earner. Indeed, the amount of money that must be invested to produce one is staggering: the costs are high and possibility for success unpredictable. Thus the question of programming has been a primary concern since the start of public opera. What will audiences want to hear? How can balance be achieved between the composition and its execution? Which works will keep the reliable patrons coming and draw in new audience members to the performance?
Opera, or the under-doing of women
Today I attended the Metropolitan Opera broadcast at my local movie theater in a performance of Puccini’s La Rondine (like La Traviata, only minus the tuberculosis and judgmental father). I cannot thank the Met enough for getting these performances out to a wide audience because for many of us here in the US, it is virtually impossible to see good opera live.
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