LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: Some Thoughts on the Met: Size, Capacity, Mini-Met etc.
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Wed, 13 Jun 2018 12:43:36 -0400

text/plain (88 lines)

Thank you, Paul, for some common sense. Refreshing to see the same appear as against the Mickey Rooney - Judy Garland - 1930's movie musical scenario plot of "Hey kinds.  Let's put on a show in the barn.  Maybe a producer will see it and then we'll be on our way to Broadway" plot.  You then instantly cut to a shot of an andience of thousands, an orchestra of eighty comprised of obviously young teen aged musicians, and a production number on stage that is worthy of having been staged by 

It should be noted that one of the biggest, if not the biggest, obstacle to overcome with such a proposal  would be the opposition of the musician's union to granting the financial concessions necessary to making such a proposalfinancially viable.



> On June 13, 2018 at 11:34 AM "G. Paul Padillo" <[log in to unmask]> wrote:
> I keep hearing that the Met needs to “fill 3,800” seats every night.  To the 
> best of my knowledge, no performing arts facility was ever planned or built 
> with the notion that every seat would be sold every night.  Unless 
> you’re “Hamilton” or “Bruce Springsteen,” most shows the world over have 
> rarely been “sold out.”  This was true 100 years ago, and remains so 
> today.  There is a reason the word “capacity” or phrase is used:  it is the 
> MAXIMUM amount of people that can occupy a space, not the “need” to 
> occupy that space night-after-night.  To that end, I couldn’t agree more 
> with Mr. Shepherd about the notion of tearing down Family Circle – or any 
> rear portion of the Met makes little sense.  People who keep complaining 
> about lack of intimacy at the Met should realize, the place has been there 
> for 50 years now, it’s not going to get any smaller.  Ever.  
> While there seem to have been more sold out nights in the late 90’s than 
> now, I’ve noticed that after 9/11 the Met never seemed to fully bounce 
> back, outside of rare nights which have sold out or come close. It was 
> understandable at first – all of the arts in NYC seemed to take a hit – but 
> now, Broadway IS selling out, and having record seasons, often with 
> (pardon the language) fairly shitty shows, based on TV shows or movies, 
> cobbled together with pre-existing pop songs and nostalgia.  I’ve supported 
> Gelb in a lot of his decisions – and still do, but if he can’t figure out how to 
> simulate the successes that are happening in Vienna, London, Paris and
> Germany, then the Board needs to find someone who can.  There are 
> probably more than a few American candidates that could probably fit the 
> bill, but the Met, being an international house might, perhaps, consider 
> someone with a more international pedigree to shake things up and add 
> some cache.  It’s one of a handful of the most famous houses in the world, 
> for Pete’s sake.  
> I’m among those who would like to see the Met produce more intimate, 
> smaller scale works.  What, with the proliferation and popularity of baroque 
> opera it would be nice to have a space to put on some Monteverdi, Handel, 
> Hasse, Vivaldi, et al.  To operate another theatre under The Met’s auspices 
> is not a fiscally reasonable thing to consider, but what about renting an 
> already existing theatre?  Many (most?) theatres on and off Broadway have 
> weekly rates – (two rates, really) that include the rental of the theatre, 
> administrative/ticket/staff costs, etc.  
> Many performing arts groups, troupes, bands, etc. negotiate deals and the 
> Met could, say, mount, a production of Monteverdi’s “Il ritorno d’Ulisse in 
> patria” or Rameau’s “Castor et Pollux” in a 500 seat theatre for likely under 
> $10,000 a week.  A week of tech and rehearsals in the theatre with a week 
> long run of 5 performances would cost $20,000 plus production costs, artist 
> fees, etc.  Even at $80 a pop, this has the potential to yield gross ticket 
> sales of $200,000.  These are just guestimates based upon a little research 
> on theatre rentals in NYC, but were I running the Met, it’s definitely 
> something I’d consider doing and until proven otherwise, it couldn’t hurt!
> p.
> **********************************************
> OPERA-L on Facebook:
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings:
> --------------------------------------------------------------------------

OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager