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Subject: Re: Metropolitan Opera Cast Change Advisory - Tosca (2017-18)
From: robert levine <[log in to unmask]>
Reply-To:robert levine <[log in to unmask]>
Date:Sat, 4 Mar 2017 13:13:46 -0500
Content-Type:text/plain
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Just spoke to a pal in London who was involved with a Walkure act one a
month ago at the Barbican - apprently Kaufmann seemed distracted throughout
and had previously been late to reheasals and barely sang or interacted
with the other two (Halverson and Mattila).
Wassup?

On Sat, Mar 4, 2017 at 12:57 PM, Bob Rideout <[log in to unmask]> wrote:

> Some comments.
>
> Back in the fifties and until the eighties, most singers did not know,
> and audiences absolutely did not know (with rare exceptions) who
> would be singing what, when. We bought subscriptions based only
> on rep or a desire to keep our seats. There was a time when a
> subscription was a thing of some value for its sake.
>
> We knew casts for new productions, and that was it! The Callas return
> in 65 was the exception that proves the rule. It has been, during the
> last quarter century, the rule that casting is known at the time
> subscriptions are sold. Singers are locked into contracts as long as
> five years into the future. Some are voiceless by the time they get
> around to singing this stuff.
>
> But, that is the norm. I loved the old days, when, you would go to the
> Met on Monday morning and find out for the first time who would be
> singing during the following week. Even singers often didn't know
> until those pieces of paper appeared in the Met lobby.
>
> It's different now, but I think it is not fair to be so hard on singers who
> must commit so far in advance and then find, for any number of valid
> reasons, that circumstances have forced them to withdraw. Give
> them a break. Five years is a long time. Even one is a lot longer than
> was the case 50 years ago. We lived it; we loved it, and there were a lot
> more bodies in seats then, than there are today.
>
> Bob
>
> On Saturday, March 4, 2017, Michael Lane <[log in to unmask]> wrote:
>
> > At this point, having bought tickets twice to find him not singing, I am
> > done. It is not that special a voice, to me, to waste time and money on.
> >
> > Singers know years in advance where and what they're going to be singing.
> > At least he has given the Met some lead time and they'd be foolish to
> plan
> > anything around him.
> >
> > Mike
> >
> > On Sat, Mar 4, 2017 at 10:31 AM, Michael McPherson <[log in to unmask]
> > <javascript:;>>
> > wrote:
> >
> > > Kaufmann, who I love, has been canceling his Met obligations for years
> > > before Trump was elected.
> > >
> > > Michael J. McPherson
> > > [log in to unmask] <javascript:;>
> > >
> > >
> > >
> > >
> > > > On Mar 4, 2017, at 9:49 AM, DK Conn <[log in to unmask]
> > <javascript:;>>
> > > wrote:
> > > >
> > > > It is not only the art community and it is not only the US.
> Recruiting
> > > top scientific talent
> > > > is having the same difficulties.  I know personally of a couple of
> > > recent examples when,
> > > > after considerable time and effort had been spent in international
> > > talent search and
> > > > recruitment, offers to leading researchers (both Europeans) were
> turned
> > > down explicitly
> > > > because the scientists did not want to bring their families to the US
> > > under the current
> > > > administration.  I have heard indirectly of some similar cases in the
> > UK.
> > > > DK
> > > >
> > > > On Sat, 4 Mar 2017 04:46:37 -0500, Frank Cadenhead <
> > [log in to unmask] <javascript:;>>
> > > wrote:
> > > >> About Kaufmann's cancellation, it is difficult to say in precise
> > terms,
> > > but (1) the
> > > >> world's art community is obviously aware of the "new America" and
> > > expressions of
> > > >> opposition are beginning to be heard. Jordi Savall is creating a new
> > > orchestra made
> > > >> up entirely of immigrants, for example. It will only get worse. (2)
> > The
> > > dates he
> > > >> abandoned are in the holiday season, if I remember correctly, and,
> if
> > > family is
> > > >> important, this could be a factor and (3) is there still a cap on
> fees
> > > at the Met? A
> > > >> cap on fees at the Met makes it harder to compete with cities like
> > > Berlin, Milan and
> > > >> Paris without one and all wanting the same guy and (4) the Met these
> > > days, with
> > > >> rows of empty seats and middling management, has not the same cache
> it
> > > once
> > > >> had. After his Paris Lohengrin, he will be do a concert version of
> the
> > > Munich
> > > >> Chenier on the 25th with Harteros at the Theatre des Champs Elysees.
> > > >>
> > > >> Frank Cadenhead
> > > >
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