For those who haven’t already heard, City Opera announced this week that Gerard Mortier, the current director of the Opera National de Paris, has been named the next General Manager and Artistic Director of City Opera. To put into perspective what a major coup this is, Dan Wakin reports that Mortier was also recently offered the top job at the Vienna Staatsoper, and turned it down. According to Alex Ross’ posting, this sets up a potential clash of the titans between the Met and City Opera, with the Met playing the establishment role, and City Opera becoming the avant garde house. Strange, I thought there was already a little opera house in Brooklyn that played that role.
6 thoughts on “New Director at City Opera”
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City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets
City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets
City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets
City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets
City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets
City Opera has gone through phases, but by and large it has always been the avant garde house to the MET’s big Establishment Institution. It was City Opera that believed in opera as theater and in contemporary opera (American opera in particular) while Rudolf Bing of the MET publicly reveled in his role as curator of a museum (words he himself spoke).
What’s interesting about the timeing is that Mortier comes on board at NYCO just as Peter Gelb is shaking up the MET harder than it’s been stirred in decades. With his media sense and his advocacy of the new theatricality applied to opera, the MET is moving forward again (at last).
What will really be interesting is to see how Mortier reconciles his international connections and normally lavish producing style with City Opera’s well-known slender budgets