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Subject: Re: the real final night at the old Met 1966
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Fri, 8 Jun 2018 18:52:44 +0000
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Agree with just about everything here, especially the location of the Old House, which was much more convenient for me coming from New Jersey via the Port Authority Bus Terminal. Perhaps I misunderstood you opinion on the acoustics of the New House, but I found that voices sounded as good or better there than in the Old House. It is just too bad that there was not enough space at the old site in order to provide more room, so that it could have been renovated properly. Despite it's location I very much enjoyed the new Met, but then, I spent much more time there than in the Old Met.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Bob Rideout <[log in to unmask]>
Sent: Friday, June 8, 2018 2:28 PM
To: [log in to unmask]
Subject: Re: [OPERA-L] the real final night at the old Met 1966

It's not a "yes" or "no" answer, I think.

When the Met gave its last performance, and Stokowski, Albanese
and others pleaded to "Save the Met", I joined in the applause, and
certainly subsequent events, which include the fact that no memorial
to its existence even exists today, is a great sorrow to me.

But, as those same subsequent events disclosed, the building was in
danger of collapse, and the roof was in terrible disrepair. Apparently
it had been a danger to public safety for some time.It had to go!

The Met also needed the income from the property, and I became
convinced once the practical considerations surfaced that the right
decision had been made.

However, I have always felt the the Old House was ideally located
and Lincoln Center was not. Every subway in NYC had a station within
one block of Broadway and 40th Street, the Path trains and Port
Authority to New Jersey were a block away nd the Long Island Railroad
was a six block walk. It was a commuter's dream. Lincoln Center
became for many a commute's nightmare.

The acoustic at Lincoln Center is fine. Audio technological "advances"
that I believe are misused, is mainly the problem, I think. Spaciousness
has replaced fidelity, and voices are secondary, as is true of every
aspect of operatic production. That is a rant! ;-)

Bob

On Fri, Jun 8, 2018 at 14:08 David Kubiak <[log in to unmask]> wrote:

> There was what I think must have been a repeat of an older documentary on
> the transition from the old to the new Met (Leontyne Price was completely
> disarming in her appreciation of how great a singer she was -- that's a
> real
> diva).  I thought the documentary was very sophisticated in its
> presentation
> of the kind of thinking that was typical in the NY of Robert Moses, and for
> that matter, Rudolph Bing.
>
> My question is this.  There must be only a few people left on the List who
> remember the old house.  Do you feel there should have been steps taken to
> make it more practical rather than tearing it down?  It may be my
> imagination, but once the technology gets good enough I hear on the Sirius
> broadcasts a kind of very particular resonance from the the original house
> that the new house utterly  lacks.  It's different from, but almost as
> pronounced as Bayreuth, whose broadcasts you can identify just from the
> sound.
>
> I realize that many seats had obstructed views, there was no place to store
> productions, etc., etc.  But should the old Met have been saved, and would
> our changed perceptions of historic architecture be able to do it today?
>
> David Kubiak
>
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