Peter Gelb: Take note! Though the Met audiences expect their (significant) money's worth, with all the union troubles this year, bringing productions like this one for a "newcomers" series at the Met with reduced prices could be an answer to building new audiences. Just sayin'.
If there's one thing Susan Stroman's new production of The Merry Widow at the Metropolitan Opera House isn't, it's merry. Sometimes frenetic, yes, but merry, no -- and in several ways that composer Franz Léhar might not have condoned.
In the case of Klinghoffer, as in the case of Cruising, the bottom lines for me are simple. I am concerned about some of the rhetoric and tactics of some gay radicals, but I am a lot more concerned about homophobia.
What's to be done about someone whose art is or seems to be so great, but whose prejudices were unquestionably contributory to great evil? How do you continue to appreciate art once aware of the enormity it was accessory to?
While I still believe the best arts managers are those who come to solutions that are based on their organizations' unique situations, there are many arts managers who do not bring that level of creativity to their work.
When Peter Stein and the Metropolitan Opera attempted to flesh out the back story behind Stein's withdrawal from a new production of Boris Godunov, the formerly mysterious story became utterly incomprehensible.