It’s been a tumultuous few years at the New York City Opera. It has been continually plagued by financial troubles, and leadership of the organization has been haphazard since Paul Kellogg announced he was planning to leave the position of general and artistic director in 2005. Controversy dogged the short tenure of French impresario Gerard Read More
In our culture of complaint (to borrow Robert Hughes’ memorable phrase), many of the disgruntled voices belong to lovers of classical music who lament the imminent demise of the art form they profess to cherish.
Whether the theme is the lowering of traditional standards, the decline of CD sales or the disaffection of younger Read More
Paul Kellogg, the New York City Opera’s general director, has been eloquent about the need to relocate the company away from Lincoln Center, and until now I’ve been entirely on his side. What gives me second thoughts has nothing to do with the economics, politics or acoustics of City Opera’s widely publicized plight. The prompting Read More
In Johanna Fiedler’s Molto Agitato , we learn that during the formation of Lincoln Center, Sir Rudolf Bing, who ran the Metropolitan Opera, wrote to Anthony Bliss, then chairman of the Met’s board, declaring his opposition to City Opera’s planned move into the State Theater, next-door to the new Met. “I was under the impression Read More
More Opera Is Best for Opera-And Less Works, Too
In Johanna Fiedler’s Molto Agitato , we learn that during the formation of Lincoln Center, Sir Rudolf Bing, who ran the Metropolitan Opera, wrote to Anthony Bliss, then chairman of the Met’s board, declaring his opposition to City Opera’s planned move into the State Theater, Read More
Tired of living in the formidable shadow of the Metropolitan Opera, top administrators at the New York City Opera decided that this year would be their breakout season. With a new artistic director in Paul Kellogg, a newly polished image as the “New City Opera” and an expanded production schedule, the company sought to put Read More
