Augmenting their offerings with those of the Met have been wonderful.
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Opera Hong Kong usually gives 2 productions a year and, in some years, one of the shows may be selections of opera arias, rather than a full opera. I first saw the Met in HD in Hong Kong, brought there through the efforts of two local opera lovers, Lawrence and Brenda Scofield and their Foundation for the Arts and Music in Asia, Ltd. But, when the top opera company in the world can provide their audience all over the world with 10 operas from all parts of the repertoire, it’s recycling in a way that few in classical music have considered.įrom the first season of the Met Live, productions have been of the ‘must-see’ variety, including Julie Taymor’s The Magic Flute (Mozart), the premiere of Tan Dun’s The First Emperor, a gorgeous production of Tchaikovsky’s Eugene Onegin, with Dmitri Hvorostovsky, Renée Fleming and Ramón Varga, and Valery Gergiev conducting.ĭonizetti’s “Lucia di Lammermoor © Richard Termine / Met Opera Millions are spent on artists, on sets, on rehearsals and all for a production that may only be on the stage for relatively few days. How does this come into sustainability? An opera is expensive. For places in the world that are not on the same time zone as the US, separate broadcasts of the operas are arranged, on a schedule that fits the local schedule rather than the US schedule. Internationally, it also went to Britain, Japan and Norway the first year and later expanding to more countries in Europe, South America, and the Caribbean. A live broadcast from the Metropolitan Opera House in New York is recorded in high definition (HD) and broadcast to different cinemas in the US and Canada, to arts centers, and to college campuses. Metropolitan Opera Live in HD started in 2006 and was the brainchild of the then-new general manager of the Met, Peter Gelb. One place where sustainability hits classical music in terms of making productions more available but without the huge hit that a new production can make on your budget seems to be exemplified in The Met Live series.
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In doing research on sustainability and music, two non-classical topics turn up: how to make rock festivals (think Glastonbury) more green and less like a bomb-site afterward and, in ethnomusicology, how to preserve music of dying cultures, just as one might preserve a language that now had few speakers and none of them young. I was asked the other day for some ideas for sustainability and classical music.
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