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Subject: Re: the real final night at the old Met 1966
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Mon, 11 Jun 2018 15:46:15 -0400
Content-Type:text/plain
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In my "salad days" of MET attendance I was quite glad for the size of the
house when it came to various Sutherland, Horne, Pavarotti, Price, Caballe
performances.  As an out of towner who had to work my MET attendance around
job responsibilities that formidable capacity helped my chances of getting
into sold out houses - if not by advance sale, at least by showing up early
in the cancellation line.

Over the last 10 years I've been shocked at the number of vacant seats for
high profile performances.  I'm guessing the only ones today who might sell
out a run would be Netrebko and Kaufmann, maybe Florez …

Even brilliant artists like Radvanovsky, Di Donato, Grigolo, and Beczala
have "respectable" box office rather than sell outs...

On Mon, Jun 11, 2018 at 1:50 PM, Bob Rideout <[log in to unmask]> wrote:

> Donald
>
> I do think that this has become a tempest in even less than a
> teapot, but, there certainly were pillars (or posts if you want)
> at least at the Dress Circle and Balcony levels. I was cautioned
> about them more than once at the box office.  i sat behind them
> a couple of times and they were no great impediment. The thing
> is, they had a very small circumference, but they were there!
>
> Bob
>
> On Mon, Jun 11, 2018 at 13:34 donald kane <[log in to unmask]> wrote:
>
> > I have never mentioned backstage facilities, but I will say that
> > whatever their shortcomings, they didn't interfere with more than
> > half a century's worth of magnificent performances.  Nor did
> > complaints begin to proliferate until it was decided that they
> > might be a good way to help in instigating a move.
> >
> > No matter where I sat in the old place, I was never behind a post;
> > it just doesn't work that way, and I have numerous clear 8x10 photos
> > to prove it.  The trouble with seats on the side of any theater, new or
> > old, is that views of the stage are obstructed, partially or seriously,
> > depending on how high up you go.    That is why, after the remedy
> > Richard Wagner demonstrated at Bayreith, no horseshoe theater
> > should ever have been built again.
> >
> > dtmk
> >
> > On Mon, Jun 11, 2018 at 12:56 PM, Max D. Winter <[log in to unmask]>
> > wrote:
> >
> > > Donald Kane wrote:
> > >
> > > "I defy you to produce a single photo showing "pillars" on every level.
> > Do
> > > you even know
> > > what a pillar is?"
> > >
> > > Yes, in fact, I do, have for some time.  From one dictionary: "A tall
> > > vertical structure of
> > > stone, wood, or metal, used as a support for a building, or as an
> > ornament
> > > or monument.
> > > Synonyms: column, post, support, upright, baluster, pier, pile,
> pilaster,
> > > stanchion, prop,
> > > newel."  I presume you are quibbling about my calling them "pillars"
> > > rather than "posts" or
> > > "columns."  Now, if I had called them "caryatids," you might be able to
> > > object, as none of
> > > the supports had ladies draped in togas.  But "pillar" is a perfectly
> > > acceptable descriptive
> > > word for the uprights that supported the balconies of the Old Met.
> > >
> > > As to your first point: the pillars/columns/posts/caryatids - call
> them
> > > what you want, it's all
> > > the same thing (well, ok, not Caryatids, no women in togas) - can be
> seen
> > > in numerous
> > > photos of the Old Met on Google Images.  There is also a clear view of
> > the
> > > house with the
> > > pillars on the Wikipedia page for "Old Met."  That they were there and
> > > partially obstructed
> > > the view from many seats was attested to in the recent documentary "The
> > > Opera House," by
> > > none other than former House Manager Alfred Hubay, who should know.
> > >
> > > I really don't know why are you are even quibbling about this.  Perhaps
> > to
> > > avoid dealing
> > > with the physical impracticability, if not impossibility, of bringing
> the
> > > backstage facilities of
> > > the Old Met up to an acceptable modern standard.
> > >
> > > MDW
> > >
> > >
> >
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