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Subject: Re: How to settle the score regarding Met Tosca productions
From: Kiwi <[log in to unmask]>
Reply-To:Kiwi <[log in to unmask]>
Date:Wed, 3 Jan 2018 07:52:03 -0500

text/plain (75 lines)

I think the answer is fairly obvious:  Peter Gelb.

He appears to have little true understanding (appreciation?) of opera or how 
to mount a successful production or what is aesthetically pleasing to the 
vast majority of the audience.

But the board backs him and the board is, apparently, as uncommitted to 
presenting the same sort of productions as is their manager.  Between the 
two, I think the Met is suffering significant damage on multiple levels, 
from staging, direction, performers, conductors, etc.  Gelb and board don't 
seem particularly upset about the apparent lack of enthusiasm by many of the 
audience or the fairly constant unfilled theater.  So, there you have:  a 
business man with little creative imagination backed for life, it would 
seem, by the board, in charge of one of the most internationally-known arts 
platform, making consistently questionable decisions and offering his vision 
in questionable productions.

But Gelb has his passionate defenders among the aficionados as well, so 
perhaps there is something there, some grand artistic vision,  some finger 
on the pulse, that others just don't appreciate.

-----Original Message----- 
From: David H Spence
Sent: Wednesday, January 03, 2018 1:08 AM
To: [log in to unmask]
Subject: How to settle the score regarding Met Tosca productions

The argument over whether the Luc Bondy production was too off-base, radical 
or not has
grown really too silly, with in its place a stodgy new production by David 
McVicar, though I
haven't seen much of it yet.

What the  Met needs, moreover what the world needs is a Tosca that would 
make the Bondy
production look too conservative by comparison.  Why for instance did Peter 
Gelb and the Met
feel they needed to further kitsch up a few scenes in it, with particularly 
in mind the opening
of Act Two?   One has to think too of the neo-fascist government in 
Washington DC that has
orange hair.  Perhaps there ought, by the same token, to be prostitutes on 
stage for the first
30 minutes of Act Two.

I would not stop at our getting a David Alden production, except David, one 
of the two 'evil
twins' that he is and I love him for it, were to come up with an idea 
comparable to the
Macbeth he offered both Houston Grand Opera and Chicago a few years back. 
So, let us have
it be David Alden for sure, should Peter Konwitschny not be available - or 
we could have both
of them compete with each other as to who can come up with the best radical 
re-think of the
'du grand guignol' shabby little shocker, as it always has been AND ALWAYS 
to bore people to death.

David H Spence

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