Curator Melissa Wolfe talks about the inspiration we can all take away from the Columbus Museum of Arts newest exhibition showcasing the work of home town hero George Bellows. George Bellows and the American Experience through January 4, 2014. This exhibition follows on the heels of a major retrospective of the artist organized by the [...]
What’s Right With the Metropolitan Opera
It’s always intriguing to read about the Metropolitan Opera. So when I saw Norman Lebrecht‘s ArtsJournal blog post entitled “You want to know what’s wrong with the Met?” I was drawn to it like a fly to molasses. Now I’m writing a blog post of my own as I process Lebrecht’s piece, which raised some issues.
Lebrecht Rips The New York Times and The Met
Lebrecht describes The New York Times as the Met’s “press puppet”Â and lambastes the paper forÂ running a “puff piece” about the opening of the Met premiere of Janacek’sÂ From the House of the Dead.
Lebrecht takes issue with the Times story’s beginning, which makes a tall claim for the Met: “Just as a diva regards her Metropolitan Opera debut as proof that she has arrived, a Met premiere confers on a work a lasting seal of approval.”
Is The New York Times the Met’s handmaiden? From my perspective here in Central Ohio, I have only limited insightÂ into this question. Lebrecht’s major complaint, though,Â isÂ that the Met regards itself (and, through the Times, publicizes itself) asÂ the world’sÂ operatic ne plus ultra. ” . . . Which other city newspaper would so pump upÂ its opera house to state that until a work has been staged there it simply doesn’t exist?,” Lebrecht asks.
And,Â after having laid bareÂ the Met’s relative tardiness in coming to Janacek’s operas,Â Lebrecht continues: “Despite lagging behind the rest of the world on this and many other creative fronts,Â the Met and the TimesÂ manage toÂ pretend that they are the umbilicus mundi of opera, the seal of approval without which the art form would wither and die. It’s aÂ tragic case of self-delusionÂ and one that inflicts sustainedÂ damage on theÂ advancement of opera in the United States.”
“The Met is, beyond contention, one of the world’s important opera houses,” Lebrecht continues, back-pedaling while not back-pedaling. “ButÂ while its present chief Peter GelbÂ deserves credit for dragging it halfwayÂ into the 20th century (forget the 21st), its inflated self-image has, with the Times’s help,Â stultified the art andÂ New York’sÂ expectations.
The Met is a monolith, a near-monopoly with a tame newspaper in tow.Â The only seal everÂ bestowed by the Met is that of certified safety.”
The View of The Met From Ohio
“Lagging behind the rest of the world?” Peter Gelb’s “dragging it halfway into the 20th century?” “Forget the 21st?” The Met’s “inflated self-image has, with the Times’s help,Â stultified the art andÂ New York’sÂ expectations?”
Again, I don’t know enough about the workings of The New York Times vis-a-vis the Metropolitan Opera to make any claims. But my vantage point as an opera lover/follower outside New York (and yes, there are opera lovers outside New York)Â means I have certainly different, maybe even helpful insights into where the Met is on the global operatic playing field.
I have seen and heard aÂ number of performances from the nosebleed section at the Met, and there’s nothing like the quality of a Met production or the energy of a Met audience.
The Met in HD
Seeing the Met’s HD transmissions (one of those “halfway into the 20th century” artistic decisions, I guess) brings – no, advances – no small measure of that excitement, and top-of-the-line productions,Â right to my own backyard, a region (unspoken East Coast biases to the contrary)Â full of passionate, intelligent, and savvy opera listenersÂ of whom Lebrecht was evidently unaware when crowing about the Met’s “stultifying . . . New York’s expectations.”
(And what exactly in last season’s brilliant Met productions ofÂ Salome and Madama Butterfly, to name just a couple,Â would qualifyÂ as “stultifying” orÂ ”inflated?”)
So even if before the HD transmissions happened the Met was an opera house of international repute, with the help of technology, it now belongs to the world. But now that the San Francisco Opera, the Royal Opera House at Covent Garden, and other companies are jumping on the HD bandwagon, isÂ the MetÂ any more of a “monolith” than it always has been?
One really must admit the Met’s not too shabby. So, if “the Met is, beyond contention, one of theÂ world’s important opera houses,” then what’s wrong with the Met’s – and with our – just saying so?
Why shouldn’t we consider the Met to be the leader of the opera world,Â and why shouldn’t the Met aspire to continue to be at the top of this world? We all can only benefit, it would seem.
Maybe Lebrecht wants more twentieth-century opera and more cutting-edge productions at the Met. Fine. Maybe he wants more true classical music criticism, less advocacy from the Times. An admirableÂ desire.
While the Met certainlyÂ doesn’t need me to defend it, I believe in giving credit where credit is due.Â And if in doing so I am (unjustifiably) chalked up asÂ just anotherÂ journalistic toady, that’s unfortunate, but, I guess,Â so be it.