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History of the Company
Following Abbey's inaugural season, which had resulted in very large deficits, operas were given by a "pick-up" ensemble of relatively inexpensive German singers (which nevertheless included some of the most celebrated singers in Germany) who performed an international repertory, albeit in German. This anomalous situation terminated at the time of the Great Fire, following which the Golden Age of Opera arrived at the Metropolitan under the celebrated management of Maurice Grau 1892-1903. The greatest (and most highly paid) operatic artists in the world then graced the stage of the Metropolitan Opera House, notably the brothers Jean and Edouard de Reszke, Lilli Lehmann, Lillian Nordica, Nellie Melba, Milka Trnina, Emma Eames, Sofia Scalchi, Eugenia Mantelli, Jean Lassalle, Mario Ancona, Victor Maurel, Antonio Scotti and Pol Plançon. From 1898 to 1986, the Metropolitan Opera went on a six-week tour following its season in New York. These were cancelled because of financial losses.
The noted Canadian operatic tenor, Edward Johnson, was general manager between 1935 and 1950, successfully guiding the company through the dark years of the Depression and World War II. Zinka Milanov, Jussi Björling, Richard Tucker and Robert Merrill were first heard at the Met under his management. Sir Thomas Beecham, George Szell and Bruno Walter were among the great conductors of the Johnson era. An aristocratic Austrian-turned-Englishman, Sir Rudolf Bing, was manager between 1950 and 1972. Bing modernized the administration of the Company, ended an archaic ticket sales system, and ended the Company's weekly one-night stands in Philadelphia. He presided over an era of great singing and glittering new productions, and guided the company's move to a new home in Lincoln Center. Among the many great artists Sir Rudolf introduced to New York audiences were Maria Callas, Birgit Nilsson, Renata Tebaldi, Joan Sutherland, Dame Elisabeth Schwarzkopf, Victoria de los Ángeles, Montserrat Caballé, Mario del Monaco, Franco Corelli, Carlo Bergonzi, Nicolai Gedda, Jon Vickers, Giorgio Tozzi and Cesare Siepi. Critics of Bing complained of a lack of great conducting during his regime, but he did offer such fine conductors as Fritz Stiedry, Dimitri Mitropoulos, Pierre Monteux, Erich Leinsdorf, Fritz Reiner, Karl Böhm and Herbert von Karajan. Among the achievements of Bing's tenure was the integration of the Met's artistic roster. Marian Anderson's historic 1955 debut was followed by the introduction of a whole generation of fine African-American artists led by Leontyne Price (who inaugurated the new house in Lincoln Center), Grace Bumbry, George Shirley, and many others. Following Bing's retirement in 1972, the Met's management was overseen by a succession of executives including Schuyler Chapin, Anthony Bliss, Bruce Crawford and Hugh Southern. All of these men led the Met in partnership with Music Director James Levine, the Met's guiding artistic force through the last third of the 20th century. After a 16-year tenure, General Manager Joseph Volpe retired on 31 July 2006. The current General Manager is Peter Gelb. Gelb began outlining his plans for the future in April 2006. These plans include more productions each year, ideas for shaving staging costs and attracting new audiences without deterring existing opera-lovers, whose average age, at the Met, is over 60. Gelb sees these issues as crucial for an organization which, to a far greater extent than any of the other great opera theatres of the world, is dependent on private financing. Gelb is being watched to see if his enthusiasm at Sony Classical, where he previously worked, for "cross-over" productions (e.g. Yo-Yo Ma playing country music) might spill over into the Met's schedules. He calls himself "an old-style producer," but saw little future for purely classical recording when working in the classical-record business, an attitude that caused some anger. The Met on radio and movie theatre screensMet radio broadcastsThe Met is also known worldwide for its live radio broadcasts. The broadcast season typically begins every year during the first week of December and presents twenty live Saturday matinee performances through May. The first broadcast was heard on December 25, 1931, a production of Engelbert Humperdinck's Hänsel und Gretel. The broadcasts were originally heard on NBC Radio's Blue Network and continued on the Blue Network's successor, ABC, into the 1960's. As network radio waned, the Met founded its own Metropolitan Opera Radio Network which is now heard on radio stations around the world. Sponsorship of the Saturday afternoon broadcasts by Texaco began on December 7, 1940 with Mozart's Le nozze di Figaro. Texaco's support continued for 63 years, the longest continuous sponsorship in broadcast history. After its merger with Chevron, the combined company, ChevronTexaco ended its sponsorship of the broadcasts in April 2004, but the Met found financing to continue them through 2005. Toll Brothers, a builder of luxury homes, stepped in to become primary sponsors starting with the 2005-2006 season. In the seven decades of its Saturday broadcasts, the Met has been introduced by the voices of only three permanent announcers. The legendary Milton Cross served from the inaugural broadcast until his death in 1975. He was succeeded by Peter Allen, who presided for 29 years through the 2003-2004 season. The present host of the broadcasts, Margaret Juntwait, began her tenure the following season and now also presents all of the live and recorded broadcasts on the Met's Sirius satellite radio channel. In addition, announcer Lloyd Moss twice substituted for Cross, and Deems Taylor was heard briefly as co-host during the early years. Met on satellite radioMetropolitan Opera Radio, a 24/7 opera channel carrying four evenings each week of live broadcasts from the current season plus archived broadcasts from past seasons during other hours, was created in September 2006 when the Met started a multi-year relationship with Sirius Satellite Radio.[1] Margaret Juntwait was named the official announcer of Metropolitan Opera Radio. [2] Met broadcasts to movie theatresBeginning with the 30 December 2006 Saturday matinee live performance of the 110-minute version of Julie Taymor's production of The Magic Flute, the Met (along with NCM Fathom)[3][4] launched Metropolitan Opera: Live in HD, a series of six productions from the 2006/2007 season in 100 movie theatres across the USA, Canada, Japan, and several European countries including Britain and Norway which are equipped to present high definition satellite video downloads on the big screen.[5] According to the Met's press release [6] 48 out of 60 US theaters had sold out prior to the broadcast, including venues in Los Angeles, Chicago, Boston, Miami and Washington, D.C., while all seven of the UK participating theatres had also sold out. These movie transmissions have received wide and generally favorable press coverage.[7] The series has continued throughout the 2006-07 season with live HD transmissions of I puritani, The First Emperor, Eugene Onegin, The Barber of Seville, and Il Trittico. In addition, limited repeat showings of the operas have been offered in most of the presenting cities. Digital sound for the performances is provided by Sirius Satellite Radio. The Met reports that 91% of all available seats have been sold for the HD performances.[8] According to General Manager Peter Gelb, there were 60,000 people in cinemas around the world watching the March 24 transmission of The Barber of Seville.[9] For the 2007/2008 season, the Met has announced that eight of its season's productions will be presented Live in HD beginning December 15, 2007 with Roméo et Juliette and ending with La fille du régiment on April 26, 2008. Opera housesThe "Old Met"The first Metropolitan Opera House opened on October 22, 1883, with a performance of Faust, was located on 1411 Broadway, the whole block between West 39th Street and West 40th Street on the west side of the street () in the Garment District of Midtown. The original Metropolitan Opera House, nicknamed "The Yellow Brick Brewery", was designed by J. Cleaveland Cady and was gutted by fire on August 27, 1892. Following the fire the building was renovated extensively. As early as the turn of the century, the backstage facilities were deemed to be severely inadequate for the growing company. Various plans were put forward over the years to build a new home for the company at locations including Columbus Circle and what is now Rockefeller Center, but none of these came to fruition. Only in 1966 did the opera company move to a new house at its present location in Lincoln Center. The original building, having failed to obtain landmark status, was razed in 1967. The present-day MetThe Metropolitan Opera House, with approximately 3,800 seats, is located at Lincoln Center at Lincoln Square in the Upper West Side and was designed by architect Wallace K. Harrison. Although west-east roads do not run through Lincoln Center itself, the Metropolitan Opera House is parallel to the block from West 63rd Street to West 64th Street. The rear of the House meets Amsterdam Avenue and the entrance to the Opera House is at Lincoln Center Plaza which begins at Columbus Avenue. The building is clad in white travertine and the east facade is graced with five similar arches. On display in the lobby are two murals created for the space by Marc Chagall. The gold proscenium is 54' wide and 54' high. The main curtain is custom-woven gold damask and is the largest tab curtain in the world. The "New Met" opened on September 16, 1966, with the world premiere of Samuel Barber's Antony and Cleopatra. The Metropolitan Opera performs grand opera in rotating repertory, each week presenting seven performances of 4 to 5 different productions. The highly mechanized stage and support space facilitates this presentation. There are 7 full stage elevators, (60' wide, with double decks) and three slipstages, the upstage one containing a 60' diameter revolve (turntable). There are 103 motorized battens (linesets) for overhead lifting and there are two 100' tall fully-enveloping cycloramas. Installed in 1995 at a cost of $2 million, an electronic libretto system, provides the audience with a translation of the opera’s text in English on individual screens mounted on top of each seat. Known as ‘’Met Titles’’, this system was the first in the world to be placed in an opera house with “each screen (having) a switch to turn it off, a filter to prevent the dim, yellow dot-matrix characters from disturbing nearby viewers and the potential eventually to display texts in multiple languages. Custom-designed, the system features rails of different heights for various sections of the house, individually designed displays for some box seats and commissioned translations costing up to $10,000 apiece [10]. Due to the height of and artwork on the proscenium, it was not feasible to have titles displayed above the stage, such as is found in many opera houses. In 1999 and in 2001, the Metropolitan Opera House hosted the MTV Video Music Awards while Radio City Music Hall was being renovated. It is regularly the location for touring opera and companies (such as the Kirov Opera), as well the principal venue for the American Ballet Theatre. Deaths at the MetTwo performers have died onstage at the Met, one at each of the two houses. In both cases, no attempt was made to continue the opera. On March 4, 1960, Leonard Warren died of a stroke onstage after completing the aria "Urna fatale" in act two of Verdi's La Forza del Destino.[1] On January 5, 1996, Richard Versalle, playing the clerk Vitek in Leoš Janáček's The Makropulos Case, suffered a heart attack after climbing a 20-foot ladder, and plunged to the stage. He had just uttered the line, "Too bad you can only live so long." Another Met artist, a female member of the chorus, was killed in an accident offstage during a tour performance of Il Trovatore in Cleveland in the early 1980's. In addition, several audience members have died at the Met. The most famous incident was the 1988 suicide of operagoer Bantcho Bantchevsky. Principal Conductors
References
Bibliography
See also
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