Metropolitan Opera House — Attraction in New York

Last Saturday, we travelled through a winter pass from Revelstoke to Salmon Arm British Columbia – a distance of some 124 kms. [77 miles] The purpose was to view the opera Aida piped in from the Met and scheduled to begin at 9:30 in the morning. As with all previous Met performances, we were siting in a theatre where the tenor frequently seemed as close to us as the theatre's stage and sometimes even close enough to touch the guy's face. Unfortunately, in this case, his robust voice sounded as if it were a good half-mile away and so we asked the theatre owner if the levels could be bumped up somewhat to make the music more like what one would expect in 'grand' opera. I could see that we were not alone in this discomfort and I hastened to add that I have very good hearing and my wife's hearing is more than spectacular. We settled in Revelstoke just seven years ago but we formerly enjoyed Met opera at a theatre in Peterborough Ontario and, on at least two occasions, we have encountered this identical problem. In each case, we were told that the projectionist was following the guidelines “provided by the Met and so nothing could be done”. That being the case, it suggests to me that not every theatre complies to the Met's acoustic standards and so I appeal to you to allow some wiggle-room in your instructions so that the levels can be raised enough to enjoy opera in the manner in which it is supposed to be presented.

That been said, I have experienced Aida some four times over the years – three times live - but this is the first time that I have seen it through the Met's broadcast facilities. We found it to be a very good presentation; and an interesting twist was having the anthropologist dust off the very knife that presumably explained its significance eons earlier in the princess's death finale. If I have any criticism it would be that that statement said it all. We found the continual interruption of other modern investigators throughout the performance downright annoying - much like commercials interrupting a film on TV. It would have had far greater impact by restricting the anthropologist to only the prelude and just leave it at that. In other words,...

From 2018...

I went to see the Metropolitan Opera’s William Tell on Saturday. Yes, this is the matinee performance where somebody tossed cremation ashes into the orchestra pit during the second intermission, causing everyone to miss the final act. Despite missing the final act, I have something positive to say about this co-production between the Metropolitan Opera and the Dutch National Opera.

I don’t go to the opera regularly but I have seen performances in San Francisco, Marseille, Berlin, Paris, and New York. Some have been excellent, some have been just okay. I know there are productions that supply the viewer with as many true-to-era references as possible, to recreate the feeling of the time in the setting of the piece. William Tell received plenty of criticism for not doing this.

All I can say is that this production helped me immensely, as a parent, in explaining the story to my ten-year old son. He didn’t need to know exactly who was who. He needed to understand that people were being treated wrong and one person had an agonizing decision. Half the players were in off-white, half were in gray-black. It wasn’t because the director was tired of designing costumes. It was a metaphor for the difference between a simple people bound by duty and their oppressors.

It has been at least 80 years since the Metropolitan Opera has done William Tell. Going with Pierre Audi’s radically different production was better than playing it safe. We all know the story of the man who shot an apple off of his son’s head with a bow and arrow, but how best to understand the turmoil of a parent having his own child’s life in his hands? It’s not through pretty decor and colorful clothing. It’s through lighting and contrast. The austere Alpine way of life was beautifully illustrated by the floating rocks and the blue space. The vulgarity of another culture being forcefully imposed upon another was personified in the harlots swaying through the peasant group. This production wasn’t supposed to be what we were expecting. And that’s exactly what was so...

What an incredible and elevated experience!

I consider myself fortunate to have attended a ballet premiere at the stunning Metropolitan Opera. It was a truly elegant and elevated experience. Being in a place like this on such a special occasion made me feel exceptionally privileged, witnessing one of the most extraordinary forms of human art. Dressing up and mingling with the other guests added to the fancy atmosphere, which was a delightful change from my everyday routine.

I must admit, it was also the place where I bought the most expensive glass of wine in New York City – a whopping $21 per glass! I kind of knew what I was getting myself into, but sometimes you have to be in the moments a splurge a little for the experience.

As for the building itself - it is stunning, with its striking and captivating design. Seeing the gigantic concrete arches gave me a glimpse of what awaits inside. And I was not wrong expecting something extraordinary! The building is interwoven with art, paintings, murals and statues but the lavish red carpet and spectacular chandeliers were something I did not expect. at least not to this extent. It is classy, fancy, luxurious and I loved every bit of it!

The auditorium is grandiose, seats are comfortable, acoustics could not be better and the gold leaf covered domed petal-shaped ceiling is just amazing to look at. . Sitting on the balcony has been perfect, offering great unobstructed views, however I would recommend, if seeing a performance such as a ballet, to sit closer to the stage to get more details and to fully appreciate actors and see their facial expression and body language.

Place that deserves more than just one visit! Visited...