Metropolitan Opera’s Tosca
We went to the Metropolitan Opera’s Tosca last night. The singing and orchestra were excellent as always. The 2009 sets were very plain, as you might expect from an organization whose Form 990 indicates that it pays its general manager $1.5 million per year (what could they have left over for fancy sets, especially since donations were down about 40 percent?). The staging was designed to ensure maximum frustration among those who paid hundreds of dollars for box seats along the sides of the cavernous theater; for no obvious dramatic purpose singers would stand in side corners of the stage for minutes at a time. They were thus rendered invisible to hundreds of audience members. I emailed a composer friend just before the concert started and he replied with the following:
“I do not go to the MET as I am severely allergic to the smell of formaldehyde. These large orchestral organizations of this country should be tried for cultural treason, for they have suffocated the birth of our own orchestral voice. Any New Yorker or American that could give money to support these institutions has no self esteem. And why are we so concerned with the acoustics of our classical concert halls when ninety percent of the audience has hearing aids.”
Until I read James Wolfensohn’s autobiography, it seemed odd to me that donors would give so readily to cultural organizations that manifestly do not need the money. In my non-profit ideas page, I calculated that $5 million would suffice to create a free Internet library of most of the world’s classical music. But being on the board of an organization that has no fancy hall, no Chagall murals, no gala opening night, etc., is not going to advance one’s business or personal interests.
My companion summed up the evening succinctly: “I doubt that there is any other opera where such a high percentage of the characters are dead by the end.”
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