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Subject: Re: No Met Forza - No Radvanovsky
From: Dennis Ryan <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sat, 14 Jan 2017 14:42:47 -0500

text/plain (46 lines)

Hi, Y'all!  
    I simply cannot believe that, after five years of  careful planning, 
Mr. Gelb has suddenly found that his so-called "artistic  vision" has at last 
exceeded his budget.  Gelb knew that the Met was on  shaky financial ground 
at the time this production was first planned, and  he knew that every known 
projection pointed to its becoming even  shakier.  This "Forza" was planned 
as a co-production with the  English National Opera.  It has already 
premiered in London over a  year ago.  The production is now a "known quantity."   
Obviously, the product that emerged was not to Mr. Gelb's taste.   Even if 
he really DOES have sufficient money woes to justify cutting one of  his new 
productions, the fact that he chose Bieito's production as the one to  cut 
is telling.  Far be it from Mr. Gelb, of course, to publicly admit  that he 
made a mistake.  So he is using "finances" as a cover for his poor  artistic 
judgment and his poor leadership in developing a piece that he now  
believes will not find much favor with the Met's ever-shrinking audiences and  that 
he believes will not fill empty seats.  
    Question:  (and I hope someone on the list has  insight into this 
issue)  This was SUPPOSEDLY a co-production between two  houses.  And since the 
production has actually premiered, isn't the Met  therefore bound to pay for 
"its half" of this disaster, whether the production  actually ever finds 
itself on the Met stage or not?  How much  money is Gelb REALLY saving?  
    Dennis Ryan 
In a message dated 1/14/2017 12:53:02 P.M. Central Standard Time,  
[log in to unmask] writes:

The Met's budget woes are amply documented. I am sure *that* part of  it was
true. The fact that it was replaced, not with an opera, but with  concert
performances of the Requiem, is  telling.

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