Q: You’ve been quoted as saying the Met lost some 25,000 subscribers, mostly from the New York City suburban area, who apparently are going to their local cinemas instead of the opera house. I realized in the briefcase that Ford, disguised as Fontana, brings in to give to Falstaff they were bundles of dollar bills which I noticed at the last second so we changed them to $100 bills - that’s the kind of detail you have to look out for in High Definition (HD). and relies on a lot of cameras that when seen in close up really works.
Q: It is different watching the live broadcast in a cinema, rather than the opera house, isn’t it?Ī: I certainly don’t want to replace the experience of going to the Met and seeing it in the opera house but what the cameras can offer, particularly in a comedy like (Verdi’s) “Falstaff” which is a brilliant production. There are subscriptions being sold in the Arctic Circle in Tromso, Norway, to see the Met and the same is true in Buenos Aires or Mexico City or St. Gelb thinks a large part of the broadcasts’ allure is the fact they are live, that anything can happen and, at least in opera, it underscores the “gladiatorial” aspect of these highly trained singers giving their all on stage, now to audiences far beyond the boundaries of the opera house.Ī: It makes our casting easier because we are competing with the other top opera houses for top stars and opera stars know if they come and sing at the Met it’s kind of one stop shopping because they can perform on the stage of the Met and be seen by an audience of 300,000 to 350,000 people. The Met’s broadcasts have created a new market for live cinema broadcasts of dance, opera, plays and orchestral performances by a raft of arts institutions, from the Royal Opera to the Bolshoi to the Berlin Philharmonic which is airing its New Year’s Eve concert this year featuring Chinese piano soloist Lang Lang. Seven years later, and with an anticipated 3 million viewers seeing about a dozen Met opera broadcasts this year in cinemas in 64 countries, Gelb says he has proved the doubters wrong. “I think there were a lot of people who expected us to fall on our face with this program,” Gelb told Reuters. Peter Gelb, the new general manager of Lincoln Center's Metropolitan Opera, poses in the lobby of the opera house in New York February 13, 2006.
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