Met Galas 2: Star Power, 1966/2017

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In our latest post, we sketched the Met careers of so many remarkable artists who participated in the 1966 gala--or might have, and evoked the names of their illustrious predecessors seated on the stage throughout the celebration. In the present post, we scroll back to the gala concert of this past May and contrast it with the gala produced half a century earlier. We are interested in presentation, repertoire, and roster above all. This comparison is telling in gauging the relative strength of the company’s brand then and now.

First, presentation. On the set of Tannhäuser’s Hall of Song, the 1966 gala arrayed thirty-one retired stars who answered a roll call, each taking a place on the stage to the cheers of the crowd. The history of the Metropolitan back to Giovanni Martinelli’s 1913 debut paraded before an audience attuned to the emotional pitch of the occasion. And as the honored guests made their entrances, a section of the chorus also seated on the stage rose in tribute: the sopranos for Elisabeth Rethberg and Marjorie Lawrence, the altos for Marian Anderson and Risë Stevens, the tenors for Martinelli and Richard Crooks, the basses for Alexander Kipnis, and so on in homage to these and many, many more beloved principals of the past. When Lotte Lehmann walked in, everyone stood.

By way of contrast, at the 2017 gala former stars whose performances had deeply touched the audience seated in the house were absent from the proceedings. Replacing the collective memory of treasured evenings embodied by the artists in full view, video clips of more than two dozen productions were seen in projections. The visuals served as backdrops for the live performers. And the music was interrupted by clips from interviews with luminaries such as Leontyne Price, James Levine, and Marc Chagall. This filmed material was an inescapable referent to Peter Gelb’s promotion of production, direction and design, and of his focus on the Met as a media platform. But it did little to foreground voice and interpretation, the stuff that draws fervent operagoing. The affective impact of the 1966 roll call was largely lost.

An intriguing parenthesis: On October 23, 1983, on the occasion of its 100^th birthday, the company threw itself a two-part gala, matinee and evening. In the very final segment, a phalanx of former Met stars constituted an onstage audience once again. What in the world could Zinka Milanov have been thinking as she sat just feet away from Price and Luciano Pavarotti, at their absolute best in the act 2 duet of Un Ballo in maschera? And what could Eleanor Steber have been feeling during Kiri Te Kanawa’s “Dove sono”? When the final curtain rose, the dozens and dozens of artists crammed on the stage struck a deeply moving tableau of the Met past and present.

In 1966, retired stars were visible on the stage from the beginning to the end of the concert; in 1983, their presence was invited only for the final segment of the evening show; and in 2017, they had no role at all, save for the fleeting images of a chosen few on the big screen.

With regard to programming, in large measure the 1966 and 2017 galas are similarly conceived. Undisputed chestnuts dominate both bills. The crucial expansions of the repertoire into the baroque, the Slavic, and the contemporary wings, championed by James Levine (see our book, Grand Opera: The Story of the Met), are only marginally present, testimony perhaps to the unflagging desire of a well-heeled public for the familiar hits of the operatic core.

And finally, if the metrics of star power in a given epoch are difficult to determine, the depth of any opera company’s principal asset, its roster, is not. Take, for example, the sopranos who participated in the 1966 gala. Eight had already or would one day be cast as Mimì in La Bohème, the title most frequently performed at the Met: Kirsten, Albanese, Tebaldi, Mary Curtis-Verna, Teresa Stratas, Steber, Caballé, Gabriella Tucci. Among the artists who sang in the 2017 concert only Kristine Opolais, Sonya Yoncheva, and Anna Netrebko had taken on this iconic role. And to date, only Netrebko has shown the box-office appeal of Licia Albanese, Renata Tebaldi, or Montserrat Caballé. There were eight Carmens onstage in 1966; in 2017, Elina Garanca was the sole artist to have sung Bizet’s eternal gypsy.

Many factors combine to explain the downward trend in attendance that has haunted Gelb’s Met. In 2015-2016, ticket sales fell to 66% of capacity. In the late 1990s, capacity was at 90%. During the final seasons at the Old Met, the “Sold Out” sign was a frequent disappointment to eager ticket seekers. Our close look at two galas separated by fifty years tells us that the decline in the number of bankable divas and divos bears a large share of responsibility for the company’s perilous fiscal straits.

But while the breadth and depth of the 1966 roster is a far cry from that available to the current Met management, the 2017 gala featured several stars who would have shone on any stage at any time. Here in concert and in commercial recordings are Joseph Calleja, Sonya Yoncheva, Elina Garanča, and Joyce DiDonato in the same arias they sang this past May.

Calleja, who has been with the company more than ten years, will be in the lustrous cast of Norma that opens the 2017-2018 season. The immediately recognizable quality of his vibrant timbre and the security of his range are displayed in Rodolfo’s “Che gelida manina.”

Sonya Yoncheva made her company debut as Gilda in 2013. Since then she has excelled in the lyric and spinto roles of Violetta, Desdemona, and Mimì.  In this “Mi chiamano Mimì” we hear her fresh and persuasive phrasing. La Bohème is one of three operas starring Yoncheva to be telecast “Live in HD” in 2017-2018. The others are Verdi’s Luisa Miller and Puccini’s Tosca.

Elina Garanča is familiar to the Met’s worldwide audiences from her performances in the “HD Live” telecasts of Carmen and Cenerentola. Her refined rendition of “Mon coeur s’ouvre à ta voix” is a riposte to the excess of many Dalilas.

Featured in next season’s new productions of Norma and Massenet’s Cendrillon is Joyce DiDonato. Here she delivers a stunning “Bel raggio lusinghier” from Rossini’s Semiramide. As always, the mezzo bends her bravura technique to her portrayal of the character.

The Met’s 2009 Les Contes d’Hoffmann: Versions .1, .2, .3

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The production of Jacques Offenbach’s Les Contes d’Hoffmann that the “Live in HD” audience will see on January 31, 2015 dates back to December 2009. It was, in fact, one of several high-concept rereadings unveiled between the winters of 2009 and 2010. Together with the others, Verdi’s Attila and La Traviata, Hoffmann fueled the debate around stagings that has raged since Peter Gelb took over the company in 2006. 

The director of the 2009 production was Broadway’s Bartlett Sher; it was designed by Michael Yeargan.  The concept, as Sher explained it, was that E. T. A. Hoffmann, the author of the three short stories on which the libretto is based, and an analog for Franz Kafka, was, like the Prague-born, German-speaking  novelist and the Cologne-born, French-speaking composer, a Jew, an outsider. For the most part, the concept failed to emerge with purpose from a flood of disordered detail. To the derby hats of 1920s Mittel-Europa, for example, Sher added Federico Fellini grotesques, clowns, and prostitutes. What the interpretation did allow, as Variety put it, was “a clever staging of the prologue’s Kleinzach number, in which chorus boys turn the tavern’s tablecloths into prayer shawls. It’s a gesture Hoffmann repeats at opera’s end when he returns alone and lonely to his typewriter to crank out more poetry. Otherwise, Sher doesn’t get much mileage out of the concept.” The director conceded that his vision had not come together as he had hoped, that he had not had “enough time to . . . get [it] right.”  He had been under pressure from an administration strapped for money and time. 

The 2009 reception of Les Contes d’Hoffmann was further compromised by principals who, for one reason or another, walked back their commitments. Anna Netrebko, who was to play all four of the poet’s loves, Olympia, Giulietta, Antonia, and Stella (a non-singing role), sang only Antonia. (We should add that few sopranos in the Met’s long history have taken on all four parts, most notably Joan Sutherland.) René Pape decided to forego the opera’s four villains altogether. The Hoffmann was to be Rolando Villazón; he suffered a vocal crisis and was replaced by the affecting Joseph Calleja.

But for the cast changes, what follows is an approximation of what the first night audiences would have heard.

In the opera’s prologue, Hoffmann, disillusioned and dissolute, muses about his love life as he entertains his drinking buddies with the tale of a pathetic court jester, the dwarf Kleinzach. In this 2011 Munich performance, the irrepressible Villazón is back in astonishing form after vocal cord surgery.

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The most familiar music of Les Contes d’Hoffmann is heard at the start of the Venitian act. The courtesan Giulietta and Hoffmann’s friend Nicklausse (a trouser role) sing the sinuous melody of a barcarolle. Netrebko, who dropped the low-lying role of Giulietta at the Met, here joins with mezzo Elina Garanca in a smoothly executed recording of the duet.

  

The devilish Dappertutto addresses the diamond through whose glitter he will enlist Giulietta in his evil plot to steal Hoffmann’s reflection. In a key lower than that of the usual baritone register, Pape rolls out his velvety bass and even manages the several high notes without undue stress.

Sher’s Les Contes d’Hoffmann made its first return in 2010. Notices were more positive: “What a difference a season makes. . . . The tales were told with greater success; the staging maneuvers seemed better focused. More important, most of the new singers were good, and one [Giuseppe Filianoti, the Hoffmann] was spectacular.” (Martin Bernheimer, Financial Times) 

In the 2015 edition, the title role goes to one of the Met’s recent stars, Vittorio Grigolo; the four villains will be played by Thomas Hampson, and the loves of Hoffmann by Erin Morley, Christine Rice, and Hibla Gerzmava. Whether the “high-concept staging” comes through with yet more conviction--and is therefore more convincing--remains to be seen.