Today is Memorial Day in the United States—a day of reflection to honor those who lost their lives in war.
To commemorate this day, and the sacrifice of our fallen heroes, I offer up Ralph Vaughan Williams’s A Pastoral Symphony (Symphony No. 3). It was written while the composer was in active duty in France during the First World War, and captures his experiences there. But for having been conceived during the war, it is almost the antithesis of wartime music. Instead of marches, percussion and martial fanfares, the Pastoral Symphony is a work of memory and regret; through it, Vaughan Williams laments the loss of many personal friends, as well as an entire generation. It is haunting… yet gorgeous.
Rest in peace. A grateful nation remembers.
The Minnesota Opera just unleashed The Shining—a new opera based on the novel by Stephen King. And in a word, it was spectacular. It was the kind of success that most companies dream about, not just in terms of artistry, but in connecting with the community. For weeks it was the most talked about event in town, and it sold out the entire run weeks before opening night.
Sadly, the run has come to an end… but allow me to provide a review for those unable to secure a ticket. Continue reading
This month the Minnesota Opera pulled off a major coup with its staging the world premiere of The Shining—and opera based on Stephen King’s bestselling novel with music by Paul Moravec and libretto by Mark Campbell. The opera was a major success and became the Twin Cities’ hottest ticket, selling out the entire run weeks before the show opened.
Part of The Shining’s success was in bringing out people who were not opera regulars, many of whom expressed surprise that someone would turn a horror novel into an opera. To those folks I responded, “There’s plenty more where that came from!” Opera has long embraced stories dealing with supernatural evil in all shapes and sizes.
For those newbies who loved The Shining, and are curious to explore similar operas, here’s my top 10 recommendations for “horror” operas to tide you over. Enjoy! Continue reading
Last week the New York Times’s published article on how to fill the empty seats over at the Metropolitan Opera—a piece that I responded to yesterday. Shortly after the original article appeared, writer Michael Cooper published a companion article in the Times to give a bit of context to the situation, and provide a deeper analysis about why those seats were empty in the first place. Based on the Met’s financial data, interviews with the Met’s General Manager Peter Gelb and Opera America’s Marc Scorca, and reports by the National Endowment for the Arts, he sees the Met’s drop in ticket sales as part of a larger decline in participation in the arts going on across the country.
I greatly respect his writing and his sourcing, and fully understand his point. But based on my own experience, and my own dives into the data, I have a somewhat different take on the situation. Continue reading
Last week, the New York Times featured a major piece looking at the ongoing challenges facing the Metropolitan Opera. The key question it tackled—a question that perennially haunts the dreams of all performing arts organizations—was how the Met could fill all those empty seats, performance after performance? Most of the Times’s top critics weighed in, offering a lightning round of suggestions on how to put “butts in seats.”
Sparked by the Times’s article, many others took up this question as well. For example, La Cieca over at Parterre.com shared some additional recommendations of how to increase ticket sales. The discussion has continued among groups online, via Twitter, and even here in Minnesota; one local news organization, MinnPost, actually put forward a hilarious parody video showing what happens when an orchestra follows the advice of consultants to boost ticket sales. Days later Times itself published a follow-up article by Michael Cooper, purporting to look at the root causes of the Met’s box office woes. Everyone seems to have an opinion on this topic.
Well, the Met Opera hasn’t asked for my thoughts (this isn’t entirely a surprise—due to my coverage of the Met’s contentious contract negotiations a few years back, I’m sure Peter Gelb thinks of me as The Harlot of Babylon), but since everyone else is chiming in, I feel like I should add my two cents too. Continue reading