You know when you see yourself in a photo and think, "Gee I look horrible" and put it away only to find it years later and think, "Wow! I looked pretty good back then?" I had a moment like that a few days ago but it was while listening to the Metropolitan Opera Channel on Sirius.
The leadership of the Metropolitan Opera recently announced that they were lowering most of their ticket prices for next season. At the same time, they announced that it is now clear that their highly successful movie theater broadcasts are cannibalizing ticket sales for their live performances.
Angela Meade ruled the stage as Norma last Saturday in an alluring new production at Washington National Opera, and judging from the ovation after her first aria and the "bravas" at the finale, this singer will now add another glittering success to her list of plaudits.
"We all have many different voices," he says. "The voice is such an amazing instrument that I feel like a mad scientist who does different things with it. Like a painter, I try different colors out. It gives me joy every day of my life."
In opera, the music pretty much trumps history, and in Maria Stuarda Donizetti's confrontation scene between the two women at the end of Act 1, a furious 16th-century cat fight in which each hurls invective at the other, makes terrific drama.
As we alternate between the roles of spectator and performer, we owe each other inspired work before taking the stage, the kind that lays weaknesses bare, but follows with a view into our capacity to accomplish unreal things.
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.