It is always of great comfort to know one is accurate in one’s perceptions, even if they are relatively fleeting and meaningless.  The case in point would be our perceptions of the various problems plaguing the Metropolitan Opera.  Not artistic but technical.  We have mentioned the weird freezing wind draughts, the peeling ceilings, audience blinding light malfunctions, 55 minute intermissions due to set change delays and a sea of chartreuse Gorton’s Fishermen swaying in unison. 

The New York Times recently reported the Met issued a $100 million bond, its first time doing so.  Supposedly spurred on by low interest rates, the Met did so at the encouragement of a board member.  The New York Times also reported that an additional $60 million raised by donors will be spent on “renovations” over the next couple of years.  What kind of tote bag do you get for that kind of investment I wonder?

Not only did the news of the renovation validate our perceptions, but the article also indicated things backstage are apparently far more dire than we thought.  The “aerial ballet” of Dido and Aeneas in Les Troyens was benched after opening night for “safety reasons because of outmoded, worn-out stage machinery”.  Sounds like Spider-Man: Turn Off The Dark in previews–egads. 

“Because of inertia and limited maintenance time, many of the stage systems are beyond their expected life span and close to failure, “ said a reported Met internal planning document.  Close to failure?  Holy cow. 

More from the NYT, “Mr Gelb said there were no immediate plans to make changes to the Met’s auditorium or public spaces, except for possibly expanding restrooms although, he said, ‘It’s hard to get donors for that.’”  Perhaps donors will want to have a toilet stall named after them—with the added bonus of being able to cut the line if you pay for your own stall.  Or maybe this calls for a kickstarter campaign?  Underprivileged Opera Goers Need More Urinals!   

“All the lighting will be modernized.  The stage and auditorium will have their own heating, ventilating and air-conditioning systems.  They will be combined and automated, reducing the unpredictability of air currents, which can cause giant back drops to collide (it has happened the Met said) and wreak havoc with stage smoke.”  And one’s sinuses. 

“The Met’s technology has fallen behind European opera houses, where many of the directors bringing new productions to New York are used to computerized controls that produce precise results for increasingly spectacular shows.  At the Met stagehands still twiddle dials, plug in cables, consult numbered charts and use a lot of muscle.”  I had a feeling there was a lot of muscled twiddling going on backstage at the Met.  Amazing the spectacles they are able to pull off with all that twiddling really.

Even roof repairs are going to be included.  I guess we are not so crazy after all.  Well, at least one of us.

-Elizabeth Frayer and Shawn E Milnes

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