The Metropolitan Oper A Vibrant Home For The Most Creative

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

2.Now a days, concerts of famous artists are usually held in big stadiums and theaters, which brings a huge crowd of fans for affordable ticket prices and the same time, satisfies the high demanded payment for the top artists and earns a profit for the organizers of the shows. However, there are concert management companies, like Nederlander, that manages to charge higher ticket prices for small theater performances and to deliver a “sellout crowd night after night”(Video Case: Nederlander, p.1). Why is Nederlander able to do that when audiences could pay less at stadium concerts?

The major weakness in the survey was not targeting the core group of subscribers that the initial decline in attendance was targeted as a problem. Because the majority of the respondents had not been too a concert in several years, this information will do very little to discover why there has been a loss in season ticket holders year to year. Unfortunately a separate survey must be done at the next regularly scheduled event. This survey must concentrate on the following key areas:

Anne also needs to convince the musicians of her commitment to the arts and her ability to lead such a prestigious organization and to do so, she will need to highlight her past accomplishments. Anne has had enormous success in directing operas, including serving as stage director for over 60 opera productions world wide, including the adored San Francisco Opera. In addition, she had stints as assistant director at the San Francisco Opera and the Canadian Opera. She also sought to increase the amount of productions during her time at the Boston Lyrics Opera instead of decreasing them to help retire the debt there. This should convince the musicians not only of Anne’s ability to lead them but also of her desire to build an elite arts

Michael Mauskapf explores the changes within concert audience in recent years and how the orchestra is plays both innovative and archaic roles within the community. Has formality surpassed the needs of modern audiences? Mauskapf notes that the orchestra is catering to a culture that is soon to die out and that being an “elite” organization with lead to its demise.

People always wonder why the City of Angels is different from other cities. This paper will answer this question and explain the uniqueness that makes L.A., “L.A.” Los Angeles, since its birth as an embryonic city, has become one of the most diverse metropolises, offering to the public what no other city can. This paper will emphasize the relationship between the federal government and the western United States. It will also illustrate how capitalism has flourished because of the prevalent 19th century Laissez Faire ideology. It will describe how the free market prevailed and expanded Los Angeles outward, while cultivating new public institutions and private enterprises.

I look forward to learning this aspect of the arts administration field in graduate school as well as the management of other arts such as dance and theatre. During my studies at Ithaca College, I have gained an enormous amount of valuable knowledge and skills that can be easily transferred to my pursuance of a master’s degree and career in arts management. Planning lessons, teaching children of various ages and skill levels, and leading rehearsals has taught me tremendous organizational and time management skills. I understand the importance of conflict resolution and of keeping people engaged and interested. Teaching involves being adaptable, constantly assessing and reflecting on performance, and making the necessary changes to plans and actions to ensure success. I know how to measure performance, analyze data, and give proper feedback. By working with students from preschool to high school, as well as supervisors, cooperating teachers and colleagues, I have learned the importance of empathy and communication. Teaching requires the ability to look through the eyes of students of different backgrounds and experiences, sometimes those with special needs, and to communicate effectively with every individual.

The performance of W.A. Mozart’s work Lucio Silla was held in Brooklyn College Opera Theatre on Friday, May 11 at 7:30pm. This piece of music was presented in a concert vision with the Conservatory Orchestra under the lead of George Rothman as the conductor, and with the Conservatory Singers under the lead of Malcolm J. Merriweather as the director. This performance is conducted by Matthew Patrick Morris, a famous singer and actor who teaches at the Brooklyn College for voice. The concert is performed by many experienced singers and musicians, and the audiences had showed their greatest respect by keeping quiet and paying attention to the performance throughout the entire concert. There was one piece of music that attracted me the most, which is the overture at the beginning of the performance.

I have since concluded that community engagement must be a part of every theatre-making process. In the professional world, I’m finding myself pushed to think about the audience more actively, and am so thankful for it — both as an artist and as a citizen. Now, as the Community Engagement Manager at Long Wharf Theatre in New Haven, CT, I am certain: community engagement is not just something that’s nice to do, tangential to the theatre-making process – it is essential to the creation of the art itself.

Thinking about the questions brought up in class as well as this week's articles made me realize that the City Opera is "in the shadow of the Metropolitan Opera." In the review of Madame Butterfly, the author asks: “What is being played? How is it orchestrated? What are the quality of the voices? What kind of balances can the conductor manage?” which are all important questions when evaluating a space for a particular event. The author also points out that “when we start thinking like engineers, we stop thinking like music lovers” which is a good point about the "electronic architecture." Of note is that they asked Beverly Sills, the Chair of Lincoln Center what she thought of the acoustics and what advice she gave to Paul Kellogg. Immediately, I thought that if they are going to the Lincoln Center Chair, that is being in the shadow of the Metropolitan because they asked that chairperson SPECIFICALLY. I notice that a lot of the critics also compare the New York State Theatre to the Metropolitan Opera in some of their critiques. What’s interesting to me, is that some of the

These issues have been faced head on by the current general manager of the Met, and publically addressed more than ever before, with in-depth interviews by the New Yorker, and the bankruptcy of opera companies around it, like New York City Opera. Peter Gelb took over leadership of the Met in 2006, and quickly detailed a plan to “expand the opera’s showings, attract new viewers (without losing any of the current attendees) and reduce staging costs” , addressing the three main concerns of the board of directors as well as the public. One of the main issues plaguing opera companies around the world as has been how to engage younger audiences, who may view opera as a medium out of their reach, financially as well as socially. It’s seen as a medium

Viewing an opera live for the first time was not exactly how I had imagined it, in 5 words I would describe my experience as; not my cup of tea. Even after priming my

For starters, operas are able to express and teach fundamental lessons regarding themes such as virtuousness, wisdom, and strength of character in a highly engaging, interactive manner. This is incomparable with the experience that comes from reading a book, not to undermine the quality of information that comes from a novel, but simply because the live action that can be seen, heard, felt, and absorbed through the senses and the mind is an experience virtually unobtainable by reading words off of a piece of paper. Not only that, but the raw performance of talented musicians and masterful compositions that accompany the already engaging storylines creates a new level of depth for understanding the plot and the emotions that are expressed straight from the singer’s mouth and the violinist’s fingers—right into the viewer’s

Arts organisations receiving grants and funding in today 's society is becoming increasingly sparse, as public money is being cut left, right and centre. So why is it still ok that large, seemingly upper class, arts institutions are receiving millions of pounds of funding each year, to put on productions only enjoyed by a tiny minority of the population, while arguably more important organisations are falling further and further into debt? In this essay, I will be discussing the reasons why it is morally wrong for opera to receive large public subsidy.

On Friday November 3rd I had the pleasure of attending an evening of Opera titled Love Through the Ages with Maria Fortuna and Nancy Townsend at the Sean O’Sullivan Theatre. Having never been to an Opera performance I had no idea of what to expect and was looking forward to this new experience. Fortuna was accompanied by multi-faceted pianist Nancy Townsend. These two musicians showed tremendous expertise and were able to keep my attention through the extent of the program.