metropolitan opera

 

  • Toscanini served as the Met’s principal conductor (but with no official title) from 1908 to 1915, leading the company in performances of Verdi, Wagner and others that set
    standards for the company for decades to come.

  • In 1963 Anthony Bliss, a prominent New York lawyer and president of the Metropolitan Opera Association (MOA), convinced the MOA to create the Metropolitan Opera National Company
    (MONC); a second touring company that would present operas nationally with young operatic talent.

  • [citation needed] The company performed not only in the new Manhattan opera house, but also started a long tradition of touring throughout the country.

  • [citation needed] Inaugural season[edit] In its early decades the Met did not produce the opera performances itself but hired prominent manager/impresarios to stage a season
    of opera at the new Metropolitan Opera House.

  • Artur Bodanzky at the Metropolitan Opera in 1915 Following Toscanini’s departure, Gatti-Casazza successfully guided the company through the years of World War I into another
    decade of premieres, new productions and popular success in the 1920s.

  • After missing a season to rebuild the opera house following a fire in August 1892 which destroyed most of the theater, Abbey and Grau continued as co-managers along with John
    Schoeffel as the business partner, initiating the so-called “Golden Age of Opera”.

  • The Met was founded in 1883 as an alternative to the previously established Academy of Music opera house and debuted the same year in a new building on 39th and Broadway (now
    known as the “Old Met”).

  • [13][14] During the Met’s early years, the company annually presented a dozen or more opera performances in Philadelphia throughout the season.

  • He took the title of music director-designate, conducting two productions a year, as of the 2017–2018 season.

  • [59] On June 2, the Met board announced the appointment of Yannick Nézet-Séguin, who was then the music director of the Philadelphia Orchestra, as the company’s next music
    director, as of the 2020–2021 season, conducting five productions each season.

  • Continuing with the lawsuits “could have put into the public record more details of accusations…”[71] The MET Orchestra Musicians In 2015, The Metropolitan Opera Orchestra
    Committee formed a separate 501(c)3 organization which does business as ‘MET Orchestra Musicians’.

  • [18][Note 2][19] Annual spring tour[edit] Beginning in 1898, the Metropolitan Opera company of singers and musicians undertook a six-week tour of American cities following
    its season in New York.

  • Cleveland was a particular lucrative stop for the Met, which had no competition in the form of a local opera company, and performances were held in the enormous Public Auditorium,
    which sat well over 9,000 people.

  • To expand the Met’s support among its national radio audience, the Met board’s Eleanor Robson Belmont, the former actress and wife to industrialist August Belmont, was appointed
    head of a new organization—the Metropolitan Opera Guild—as successor to a women’s club Belmont had set up.

  • Performances were usually held at Philadelphia’s Academy of Music, with the company presenting close to 900 performances in the city by 1961 when the Met’s regular visits
    ceased.

  • [4] The Met in Philadelphia[edit] The Metropolitan Opera began a long history of performing in Philadelphia during its first season, presenting its entire repertoire in the
    city during January and April 1884.

  • The Academy of Music’s opera season folded just three years after the Met opened.

  • Back in New York, the last night of the season featured a long gala performance to benefit Mr. Abbey.

  • [43] The Met’s first season at Lincoln Center featured nine new productions, including the world premiere of Marvin David Levy’s Mourning Becomes Electra.

  • [10] The Met continued to perform annually in Philadelphia for nearly eighty years, taking the entire company to the city on selected Tuesday nights throughout the opera season.

  • Frustrated with being excluded, the Metropolitan Opera’s founding subscribers determined to build a new opera house that would outshine the old Academy in every way.

  • On March 12, 2018, the company announced the full termination of its relationship with Levine, including the rescinding of his title of music director emeritus and dismissal
    of him as artistic director of its young artists program.

  • [42] Supported by President John F. Kennedy and funded largely by donations given by philanthropist and publisher Lila Acheson Wallace, the company presented two seasons of
    operas in 1965-1966 and 1966–1967 in which hundreds of performances were given in hundreds of cities throughout the United States.

  • [38] He presided over an era of fine singing and glittering new productions, while guiding the company’s move to a new home in Lincoln Center.

  • Under Volpe the Met considerably expanded its repertory, offering four world premiers and 22 Met premiers, more new works than under any manager since Gatti-Casazza.

  • [44] However, the company would not premiere any new operas for decades afterwards, until 1991’s The Ghosts of Versailles by John Corigliano.

  • Increasing the number of new productions every season to keep the Met’s stagings fresh and noteworthy, Gelb partnered with other opera companies to import productions and
    engaged directors from theater, circus, and film to produce the Met’s own original productions.

  • Apart from this change, the new Metropolitan Opera Association was virtually identical to the old Metropolitan Opera Company.

  • Engaged by Bing in 1971, Levine became Principal Conductor in 1973 and emerged as the Met’s principal artistic leader through the last third of the 20th century.

  • While many outstanding singers debuted at the Met under Bing’s guiding hand, music critics complained of a lack of great conducting during his regime,[citation needed] even
    though such eminent conductors as Fritz Stiedry, Dimitri Mitropoulos, Erich Leinsdorf, Fritz Reiner, and Karl Böhm appeared frequently in the 1950s and ’60s.

  • [29] Otto Hermann Kahn in Berlin, 1931 Soon after his appointment, Cravath obtained new revenue through a contract with the National Broadcasting Company for weekly radio
    broadcasts of Met performances.

  • [42] During Bing’s tenure, the officers of the Met joined forces with the officers of the New York Philharmonic to build the Lincoln Center for the Performing Arts, where
    the new Metropolitan Opera House building opened in 1966.

  • [57] On April 14, 2016, the company announced the conclusion of James Levine’s tenure as music director at the conclusion of the 2015–16 season.

  • He was the Met’s third-longest serving manager, and was the first head of the Met to advance from within the ranks of the company after having started his career there as
    a carpenter in 1964.

  • History Origins[edit] The Metropolitan Opera Company was founded in 1883 as an alternative to New York’s old established Academy of Music opera house.

  • While many singers appear periodically as guests with the company, others maintain a close long-standing association with the Met, appearing many times each season until they
    retire.

  • The greatest achievement of his tenure was the Met’s first tour to Japan for three weeks in May–June 1975 which was the brainchild of impresario Kazuko Hillyer.

  • [31] In 1940 ownership of the performing company and the opera house was transferred to the non-profit Metropolitan Opera Association from the company’s original partnership
    of New York society families.

  • [52] In 2014, Gelb and the Met found new controversy[53] with a production of John Adams’s opera The Death of Klinghoffer,[54] due to criticism that the work was antisemitic.

  • This division of the company’s forces faded after World War II when solo artists spent less time engaged at any one company.

  • These annual spring tours brought the company and its stars to cities throughout the U.S., most of which had no opera company of their own.

  • The new Metropolitan Opera House opened on October 22, 1883,[8] and was an immediate success, both socially and artistically.

  • [12] The company renamed the house the Metropolitan Opera House and performed all of their Philadelphia performances there until 1920, when the company sold the theater and
    resumed performing at the Academy of Music.

  • [32] During this period there was no change in the organization of the Metropolitan Real Estate Opera Company which owned the opera house.

  • Until 2019, it presented about 27 different operas each year from late September through May.

  • German seasons[edit] For its second season, the Met’s directors turned to Leopold Damrosch as general manager.

  • [49] During his tenure the Met’s international touring activities were expanded and Levine focused on expanding and building the Met’s orchestra into a world-class symphonic
    ensemble with its own Carnegie Hall concert series.

  • Johnson served the company for the next 15 years, guiding the Met through the remaining years of the depression and the World War II era.

  • ticket sales system, and brought an end to the company’s Tuesday night performances in Philadelphia.

  • The Metropolitan Opera (commonly known as the Met[Note 1]) is an American opera company based in New York City, currently resident at the Metropolitan Opera House at Lincoln
    Center, situated on the Upper West Side of Manhattan.

  • The Met’s six German seasons were especially noted for performances by the celebrated conductor Anton Seidl whose Wagner interpretations were noted for their almost mystical
    intensity.

  • The company’s first Philadelphia performance was of Faust (with Christina Nilsson) on January 14, 1884, at the Chestnut Street Opera House.

  • [33] Called the committee to Save Metropolitan Opera, the group was headed by the well-loved leading soprano, Lucrezia Bori.

  • [27] The plan was dropped in 1929 when it became apparent that it would produce no savings, and because the Met did not have enough money to move to a new opera house.

  • [4] The revered conductor of the New York Symphony Orchestra was engaged to lead the opera company in an all German language repertory and serve as its chief conductor.

  • Bing’s intended successor, the Swedish opera manager Göran Gentele, died in an auto accident before the start of his first season.

  • [83] As of October 19, 2020, 30% of the orchestra has been forced to move out of New York City due to not being able to afford living costs.

  • Luisi was named Principal Guest Conductor in 2010 and Principal Conductor in 2011, filling a void created by James Levine’s two-year absence due to illness.

  • Gelb began outlining his plans in April 2006; these included more new productions each year, ideas for shaving staging costs, and attracting new audiences without deterring
    existing opera-lovers.

  • The new German Met found great popular and critical success in the works of Wagner and other German composers as well as in Italian and French operas sung in German.

  • [citation needed] Under Damrosch, the company consisted of some the most celebrated singers from Europe’s German-language opera houses.

  • Several operas are presented in new productions each season.

  • [39] Marian Anderson’s historic 1955 debut was followed by the introduction of a gifted generation of African American artists led by Leontyne Price (who inaugurated the new
    house at Lincoln Center), Reri Grist, Grace Bumbry, Shirley Verrett, Martina Arroyo, George Shirley, Robert McFerrin, and many others.

  • “[45] Gentele to Southern[edit] Following Bing’s retirement in 1972, the Met’s management was overseen by a succession of executives and artists in shared authority.

  • [35][36][37] This opened the way for the Canadian tenor and former Met artist Edward Johnson to be appointed general manager.

  • During World War II when many European artists were unavailable, the Met recruited American singers as never before.

  • On August 7, 2019, The New York Times reported that the Metropolitan Opera and Levine both privately settled their lawsuits.

  • The early 1900s saw the development of distinct Italian, German and later French “wings” within the Met’s roster of artists including separate German and Italian choruses.

  • Kathleen Battle, who in 1977 made her Met debut as the Shepherd in Wagner’s Tannhäuser, became an important star in lyric soprano roles.

 

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citing film scholar Wheeler Winston Dixon.
Photo credit: https://www.flickr.com/photos/18091975@N00/8669794378/’]