Metropolitan Opera Live in HD

[R Johnson]

Perhaps there are a few opera fans around here....

The Met is simulcasting six Saturday matinee performances this season to suitably equipped movie theaters. Check out the performances and the theaters in your area at http://www.fathomevents.com/index.asp ... ($18.00 per ticket.)

I'm in downtown Chicago and the closest of the three options is about 25 miles away. I've bought tickets for the Magic Flute and will be going with 5 other folks. Unfortunately the most convenient theater location doesn't have a nice new 2K DLP Cinema projector. (It has a Christie LW40 LCD unit.) We decided to give this theater a try. If it's not too good, we may have to go further to the one theater complex that does have DLP Cinema. (Assuming they'll actually be using the DLP Cinema equipment.)

Anyone else interested in this?

[Shaded Dogfood]

I am, though I am a bit put off by the cost. Assuming it's showing in Atlanta somewhere I still might try to go.

I broke the bank on DVDs at Tower's going out of business sale, primarily going after Criterions and Operas (the Opus Arte ones are particularly seductive- expensive as the mischief, but a great deal of them were shot in high definition, and the sound is great too: PCM and dts).

[R Johnson]

S.D.: $18 is a LOT cheaper than tickets at the Met. Follow the links and put in a ZIP code to find where it will be showing...

BTW, I am very happy with the Opus Arte DVDs which I own. According to their website, they've been recording in HD for six years and plan to start issuing on HD DVD in fall 2007. Those discs should be superb!

These Met performances may show up on HD discs in the future too.

[R Johnson]

Here's a mention from TV Technology magazine:
---------

Met to Offer Live Opera in HD in Theaters

http://www.tvtechnology.com/hd_notebook/one.php?id=1092

The Metropolitan Opera in New York City will begin providing live HD-quality presentations of six upcoming productions at designated motion picture theaters throughout North America and Europe, starting this Saturday, Dec. 30.

A handful of movie theaters in the United States, Canada, United Kingdom, Norway and Denmark will be equipped to provide full-screen HD images and surround sound audio of each opera production from the Met in Lincoln Center. Specific theater locations and ticket prices are listed at the Met's Web site. http://www.metoperafamily.org/metopera/broadcast/hd_events.aspx

The HD broadcasts will be presented live, starting at 1:30 p.m. EST (6:30 p.m. GMT). The opera lineup includes:

* "The Magic Flute," Dec. 30 -- an abridged 100-minute version of Mozart's opera sung in English.

* "I Puritani," Jan. 6 -- featuring a current opera sensation, Russian soprano Anna Netrebko ("Audrey Hepburn with a voice," according to one critic).

* "The First Emperor," Jan. 13 -- the world premiere broadcast of Chinese composer Tan Dun's epic opera.

* "Eugene Onegin," Feb. 24 -- American soprano Renee Fleming joins Russian baritone Dmitri Hvorostovsky for this broadcast of Tchaikovsky's sweeping epic.

* "The Barber of Seville," March 24 -- the instantly familiar music of Rossini's masterwork featured in cartoons, commercials and TV shows, is presented in its original form.

* "Il Trittico," April 28 -- Jealousy, murder, suicide, religious rapture, intrigue and young love -- Puccini's triple-bill of one-act operas.

[R Johnson]

Here's a link to an article with some technical information: http://www.broadcastingcable.com/index.asp?layout=nocclamp&articleid=CA6338302#6389744

According to WFMT, the classical radio station here in Chicago, both theaters are SOLD OUT for the Magic Flute on 12/30.

[R Johnson]

The Met has updated their site at: http://www.metoperafamily.org/metopera/broadcast/hd_events.aspx

There will be an "Encore" showing of "The Magic Flute" on 1/23 at 7:30pm (local) at several theaters, including some which did not do the "Live" show. I may go see it again, but now at a theater within walking distance.

[vantagesc]

As these will not be broadcast in HD, any chance of the performances making it onto HD-DVD down the road?

[Bob North]

Here in Minnesota our public TV does indeed broadcast these operas in HD. I have seen several and they are the most impressive television experiences I have had in my life. I got into HD because I love baseball, but I also love opera. I have found that this topic has not been publicized. Here, is the only mention of home HD opera that I have found. The opera companies, opera magazines, broadcasters, the press in general... don't seem to know anything or care very much. I could not find anyone at the Met who cared about it. At my local PBS station I found a person who knew they had it. She said that they don't promote it because the "analog people" complain that they are missing something. I don't get it. I don't know anyone else who has seen it. I have Sony 46XBR3 1080P HD and a good sound system. You won't believe it when you see these programs on it.

What on earth are they waiting for? The printed opera magazines could sell advertising for HD TV. The home broadcasts could be a huge breakthrough for classical music and art. Why don't we have a good HD classical music/theater premium channel? All of the wonders of opera, ballet, music, and theater could be coming to us in HD. The Discovery Channel HD classical performances have been magnificent... but not much promotion either. I suppose the underlying truth is that classical music and art hangs by its fingernails these days. I think HD could save it.

I also endorse Blu-ray discs. This is the very best image that I have ever seen. Unfortunately... no real classical art yet. The Met should produce a Blu-ray disc of one of their HD opera programs. What a way to sell HD equipment to some of us. Seriously... it is better than being at the opera house.

[oink]

I skipped buying operas on DVD (in general).
Have been waiting for the day when lossless audio is possible.
Opera on BD...bring 'em on!

[R Johnson]

I'm rather sure that Peter Gelb has made contractual provisions for putting out the Met's productions on discs. But no announcements (or even good rumors) have been made.

WTTW in Chicago has shown the first three productions in HD, though as Bob North points out, there's very little promotion. If you're interested, go to the Met's website and get on their email list.

The HD broadcast from PBS looked better on my front projection system than in the movie theaters. Of course the theaters around here are using LCD projectors intended for the pre-show ads....

Opus Arte, who have put out some of the very best opera DVDs, have released Swan Lake on HD DVD and plan several operas on HD DVD this fall. See http://www.avsforum.com/avs-vb/showthread.php?t=817267 Maybe not "lossless", but I suspect it will sound very good.

Another Met Opera thread: http://www.avsforum.com/avs-vb/showthread.php?t=720428

[aviman33]

The price doesn't put me off, it's just I have no interest in going to a commercial movie theater. I'd rather pay $18 to see it at home.

Jon

[Tnilsson]

Neat idea, but I am also not enamored of the idea of going to a sticky movie theater to see a recorded opera and hearing bass from the latest Spider Man movie coming through the walls at inopprtune moments.

But I'd pay for operas on a very well recorded DVD or on Blu-Ray. The problem today is that too many operas on DVD don't look or sound nearly as good as rock concert DVDs such as the Eagles' Hell Freezes Over. And too many opera stars are still mugging it up for the back row (Hayashi Yasuko in the La Scala release of Madame Butterfly comes to mind), which results in them looking distractingly silly during close ups.

It would be nice if we could all put together a list of the opera DVDs with the best audio and video. While Amazon has reviews of most opera DVDs, I don't trust Amazon reviewers to be as discerning about audio and video, or to be as able to tell what looks good via FP, as AVS members. I could not add much to such a list as I have only recently started viewing operas on DVD and have not had a chance to see more than one version of any production.

I can say that the La Scala Madama Butterfly has a very Japanese feel to it and that most of the singers are very natural in their acting (other than the star and the baby, who while he does not say anything, looks a bit lost and is much too old for the role). I really liked the performance for a lot of reasons. But the video is only TV broadcast quality and the audio was nothing special either, though it did the job. I just watched this opera in a live performance and on this DVD so it is fresh in my mind.

[R Johnson]

Luckily, there ARE people interested in going to movie theaters to see the Metropolitan Opera. Enough that this experiment will continue and expand next year to eight operas. At some point, it's very likely that they WILL be released on HD discs.

I'm quite happy to spend the $18 even though I might see it on PBS a month or two later. At the theater I go to, the floors aren't sticky and there's no sound from the adjacent auditorium. Plus, the opera crowd is better behaved than the usual movie crowd. As a bonus, I treated myself to a few minutes of "Spider Man 3" in 2K DLP Cinema after the "Barber of Seville." If only they used that projector for the Met on Saturday afternoons!

If you're looking for opera DVDs which will look good on a front projection system, check out the Opus Arte catalog. http://www.opusarte.com/pages/home.asp They put out "Taste of the Arts" sampler DVDs for about $10. I own and especially like their "Carmen" with von Otter and the "Die Fledermaus" from Glyndebourne.

Their "Magic Flute", "Midsummer Night's Dream" and "The Merry Widow" are expected to be released on HD DVD later this year.

Other hints: 1) I find the DVD reviews in the "BBC Music" magazine quite helpful in deciding what to buy. 2) For top quality widescreen video, stick to productions in the last six or seven years.

[Tnilsson]

Speaking of Opus Arte, has anyone seen the La Scala Collection? Not HD, but it still seems to be priced too good to be true: http://www.amazon.com/Collection-Lecouvreur-Lammermoor-Nnamorato-Fanciulla/dp/B000FA577Q******sr_1_3/103-2709979-1451829?ie=UTF8&s=dvd&qid=1179521028&sr=1-3

[R Johnson]

That collection is indeed a great deal.
http://www.opusarte.com/pages/product.asp?ProductID=155
Details on individual titles at:
http://www.opusarte.com/pages/catalogue.asp?SearchType=La%20Scala&OrderByType=ProductTitle

[Tnilsson]

Not exactly opera, but I just saw the Bernstein "Candide" DVD over the weekend. Great sound, great picture, wonderful singing and music, and very funny. Highly recommended.

[R Johnson]

Another recommendation, one of my all-time favorites: Sondheim's "Sweeney Todd." Some consider it "opera", including Lyric Opera of Chicago. The San Francisco Symphony Orchestra's 2001-- "Sweeney Todd in Concert" -- with Patti Lupone, George Hearn, and Timothy Nolen is one of my favorite DVDs.

[R Johnson]

For those few opera and HD fans in Chicago: WTTW 11 will show Onegin, Barber, and Trittico on three successive Sunday afternoons at 2:00 PM - 6/17, 6/24, and 7/01. (In regular old NTSC.) But we're out of luck for HD.

An email today from the Member and Viewer Service Department:
"Unfortunately, they are not currently scheduled to air on WTTWD.
WTTW11 depends on the generous support from viewers like you."

I'm not terribly surprised, nor am I feeling particularly generous.

[R Johnson]

Five Metropolitan Opera High-Definition Transmissions from the 2007-08 Season to be Released on DVD

July 18, 2007

http://www.metoperafamily.org/metopera/news/press/detail.aspx?id=351

New York, NY (July 18, 2007)-- The Metropolitan Opera has made a deal with EMI Classics to release the first of its new and acclaimed high-definition (HD) transmissions on DVD. EMI has secured exclusive worldwide DVD distribution rights for an initial selection of five performances from the Met's ground-breaking new series, all chosen from next season's schedule of eight productions. The Met's inaugural 2006-07 season of six live HD programs proved to be a critical and popular hit, reaching 325,000 audience members around the world who attended performances relayed into movie theaters in North America, Europe, and Japan.

In its new deal with EMI, the Met retains the digital distribution rights for these five programs, as well as the DVD rights and digital distribution rights to the other programs which it has produced.

The Met's five-title deal with EMI includes the following opera performances scheduled for the 2007-08 season:

Humperdinck's Hansel and Gretel (January 1), starring Christine Schafer and Alice Coote in a new English-language production by Richard Jones and conducted by Vladimir Jurowski;

Verdi's Macbeth (January 12) starring Lado Ataneli in a new production directed by Adrian Noble;

Puccini's Manon Lescaut (February 16), starring Karita Mattila and Marcello Giordani;

Britten's Peter Grimes (March 15), starring Anthony Dean Griffey and Patricia Racette in a new production directed by John Doyle and conducted by Donald Runnicles; and

Puccini's La Boheme (April 5), starring Angela Gheorghiu and Ramon Vargas and conducted by Nicola Luisotti. Met Music Director James Levine conducts Macbeth and Manon Lescaut.

In addition to the opera performances, the releases will feature bonus material that includes some of the popular intermission features the Met produces for the live HD transmissions. The Met and EMI plan to discuss the possibility of other projects for release, both as DVDs and as audio records, culled from the historic Met archives as well as from the 2006-07 HD season.

"With the expansion of our network of movie theaters around the world, we anticipate an audience of one million attendees in movie theaters next season for our HD transmissions," said Peter Gelb, the Met's General Manager. "In the grand opera version of a movie roll-out, we plan on subsequent releases in many other formats, including DVD, which is why we are very pleased with our new arrangements with EMI."

"We are delighted to be a partner of the great Metropolitan Opera and the innovative media strategy which Peter Gelb has introduced," said Costa Pilavachi, President of EMI Classics. "This is a natural partnership as so many of our top stars are regular guests at the Met and we look forward to making these wonderful DVDs available to people in every corner of the globe."

As owner of the digital and electronic rights to the productions licensed to EMI, the Met plans to make this programming available through its consumer website and through various other video distribution services, as well as on PBS and foreign television broadcasting systems. The Met is also negotiating with similar companies for the release of its other HD titles on DVD.

The inaugural series of high-definition transmissions received enormous attention internationally and sold out in many movie theaters throughout North America, Europe, and Japan, including both live and encore presentations. The Los Angeles Times praised the series: "The Met's experiment of merging film with live performances has created a new art form. This venture may be the most significant development in opera since the supertitle." The Met is expanding the 2007-08 series from six to eight live opera transmissions, beginning on December 15, 2007.

About EMI Classics

EMI Classics, which includes the Paris-based label Virgin Classics, is one of the world's leading classical music labels which regularly records such distinguished orchestras as the Berliner Philharmoniker and the Wiener Philharmoniker and has exclusive recording contracts with artists including Sir Simon Rattle, Antonio Pappano, Maxim Vengerov, Nigel Kennedy, Angela Gheorghiu, Natalie Dessay, Diana Damrau, Joyce DiDonato, and Kate Royal amongst others. The company has regularly recorded international superstars such as Placido Domingo, Itzhak Perlman and Kiri Te Kanawa and has a back catalogue featuring historic recordings by Mstislav Rostropovich, Maria Callas, Victoria de los Angeles, Dame Elisabeth Schwarzkopf, Jacqueline du Pre, Herbert von Karajan, Otto Klemperer, Sir Adrian Boult, and Sir John Barbirolli as well as the longest-serving artist in the history of the record industry, the violinist and conductor Yehudi Menuhin. For more information please visit www.emiclassics.com.

About the Met

Under the leadership of General Manager Peter Gelb and Music Director James Levine, the Metropolitan Opera has launched many new initiatives to connect the company with a larger audience. The Met has made a commitment to presenting modern masterpieces alongside the classic repertory, with highly theatrical productions featuring the greatest opera stars in the world. New audience development initiatives include free open houses that offer the public access to final dress rehearsals of new Met productions; reduced ticket prices, including an immensely popular new rush ticket program; and the new Arnold and Marie Schwartz Gallery Met exhibiting contemporary art. As a result of these efforts, the Met experienced its first box office increase in five years during the 2006-07 season: total ticket sales increased by 7.1% from the previous season, with 88 performances selling out compared to 22 the season before. In 2007-08, the Met will debut seven new productions, the most the Met has presented in one season in 40 years.

Building on 76 years of international Saturday radio broadcasts - now heard over the Toll Brothers-Metropolitan Opera International Radio Network - the Met recently began to use advanced media distribution platforms and state-of-the-art technology to attract new audiences and reach millions of opera fans around the world. In addition to the Met's live transmissions, which were later broadcast on PBS's new "Great Performances at the Met," the company recently launched Metropolitan Opera Radio on Sirius, a 24-hour satellite radio channel broadcasting both live and rare historical performances. With support from RealNetworks, the Met began free live streaming of performances on its website. For more information, please visit: www.metopera.org.

[HDelevation]

It looks like WGBH in Massachusetts, will be airing the five Metropolitan Opera HD telecasts starting 9/1/2007 along with some other programming in their annual "Opera Bash". I know this is a long-shot, but if anyone would like to set up a trade, I have some recordings of HD art-centered programming that I would be willing to part with in order to get good, HD copies of "The Magic Flute", "I Puritani", and "The Little Prince", I already have the other four. Email if you're interested: earcoke at yahoo dot com.

Even if you're not interested in a trade, if you have a decent screen and surround audio system, these performances in HD are fantastic viewing and were more successful than anyone was expecting in the theater simulcasts. One week they ranked #16 or so in the weekly box-office, with only one screening in a very limited number of theaters. I think it was so successful because every detail seems to come through, unlike regular non-HD telecasts, which are almost criminally poor representations of what opera can offer. One last thing, if you're not interested in opera already, I'd stay away from "The First Emperor". It might turn you off.

Happy viewing to the 1 or 2 people that might read this.

[R Johnson]

HDelevation, Thanks for signing up and posting the good news regarding WGBH's plans. On other threads/ sites, I've read lots of negative comments about WGBH's programing priorities. So this is good news, indeed.
WTTW in Chicago still has only shown the first 3 in HD, though they've shown all 6 in SD.

[R Johnson]

Gerard Mortier Wants to Bring Audiences from the Movies to the Opera (Not the Other Way Around)

By Matthew Westphal

01 Oct 2007

Observers in the Big Apple already know that Gerard Mortier has big plans to remake New York City Opera when he becomes the company's artistic director in the fall of 2009. What they may not know so well -- yet -- is his penchant for tossing ideological cherry bombs.

Last week, for instance, he said that the Metropolitan Opera's initiative of broadcasting opera performances into cinemas is going in "exactly the wrong direction." Giving the opening address of a conference titled "European Dramaturgy in the 21st Century" in Frankfurt on September 26, Mortier told the audience of directors, theater administrators and dramaturges that encouraging audiences to see opera onscreen was giving up the crucial element of the art form, the live experience, according to a report from Deutsche Presse-Agentur.

"We shouldn't bring opera to the movies; we should bring people from the movies to the opera," he said.

.... read more at http://www.playbillarts.com/news/article/7125.html

[R Johnson]

The Met's website ( http://www.metoperafamily.org/metopera/broadcast/hd_events.aspx ) gives information on the eight (8) performances for this season. Also, the link to the "live" theater locations is now active. Many more theaters than last season. Price now $22.

I've been trying to find out what projectors the theaters near me will be using. One complex has sixteen (16) DLP Cinema screens. But they're bringing in an LCD "HD" projector for the Met. More dashed hopes...

[Shaded Dogfood]

I'm glad this thread keeps bobbing up. Good selection of operas. I'll be there for some of them this time.

[R Johnson]

More opera at the movies! An interesting article:
-----------------

Showing soon: nights at the opera
Glyndebourne is coming to the silver screen. Our correspondent gets a taste of a different operatic experience
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article2687348.ece

A half-hour interval filled with popcorn, cheese nachos and Coke -- watching Cosi fan tutte in the cinema is not very Glyndebourne. But that's the point. Opera is going to the movies and shedding its posh trappings. Mozart's opera is the first of three Glyndebourne productions -- Tristan und Isolde and Giulio Cesare are still to come -- filmed during the summer and now screening in ten Odeon cinemas around the UK.

.... [snipped]

[Shaded Dogfood]

It's interesting that they say they are in negotiation to show them here (or make them available in some way or other), but with two Tristans in the offing it will be interesting to see if the Met will try to block it or at least delay it until they do their broadcast.

"I find nothing more boring than watching opera on screen. It might put people off live opera,” sez general director of The English Touring Opera, James Conway. Well if you shoot it properly- which means you might have to do it without an audience- it can be quite gripping. The one broadcast of last year's Met offerings I saw did suffer from an overabundance of the same old telephoto camera angles.

[R Johnson]

It's interesting that they say they are in negotiation to show them here (or make them available in some way or other), but with two Tristans in the offing it will be interesting to see if the Met will try to block it or at least delay it until they do their broadcast.

"I find nothing more boring than watching opera on screen. It might put people off live opera,” sez general director of The English Touring Opera, James Conway.

Well if you shoot it properly- which means you might have to do it without an audience- it can be quite gripping. The one broadcast of last year's Met offerings I saw did suffer from an overabundance of the same old telephoto camera angles.

The Met might very well have some sort of exclusivity in their contracts with the movie theaters. But clearly DVDs and HD discs could be released without any issues.

The attendees at the Met's simulcasts seem to not share Mr. Conway's opinion.

Shooting without an audience would greatly increase the costs, probably making the whole project infeasible. The Met has tried hard to get a variety of camera angles, such as using a robotic camera moving along the edge of the stage.

BTW, the 10/22 issue of The New Yorker has a long article on Peter Gelb and the Met. But that article is NOT online.

[R Johnson]

The Met gets competition! See below.

And there are TWO theaters near me, neither of which is in the Met's program. One has a 2K DLP Cinema projector. The other has eighteen Sony 4K projectors! I hope they use their big projectors rather than the pre-show projectors that most of the Met's theaters have used.

------

http://www.playbillarts.com/news/article/7323.html

La Scala to Present Operas in US Movie Theaters, Beginning Dec. 2 with Aida

With the Metropolitan Opera's Saturday afternoon movie theater broadcasts having been such a success so far, other major companies have been exploring similar projects. Milan's celebrated Teatro alla Scala is now set to offer high-definition screenings of seven operas over the course of this season, beginning next month with last December's headline-making Aida.

[snipped]

[ccotenj]

"I find nothing more boring than watching opera on screen. It might put people off live opera,” sez general director of The English Touring Opera, James Conway.

all due respect to mr. conway, but it's that type of attitude that makes people not even TRY opera in the first place... :mad:

i'd think that being introduced to it (especially subtitled) on someone's tv in the comfort of their own home would be the best way... then people would really realize that operas are (strike me down for this blasphemy) just another version of musicals (that people as a general rule like)....

[R Johnson]

It's interesting that they say they are in negotiation to show them here (or make them available in some way or other), but with two Tristans in the offing it will be interesting to see if the Met will try to block it or at least delay it until they do their broadcast.

Well, make that THREE Tristans. * January 2008 - Wagner's Tristan und Isolde from La Scala

The production that opens the house's 2007-08 season on December 7. A staging directed by Patrice Chereau, with Daniel Barenboim conducting; starring are Ian Storey (Tristan), Waltraud Meier (Isolde), Michelle DeYoung (Brangane) and Matti Salminen (King Marke).

The theaters (at least in my area) that plan to show La Scala are NOT part of the group showing the Met.

Ron

[R Johnson]

Here's a link for more information on the La Scala presentations. http://www.emergingpictures.com/operas.htm
Having recorded these in HD, perhaps they'll be available on HD DVD and/or Blu-ray in the future.

[R Johnson]

The latest from the Metropolitan:
http://www.metoperafamily.org/metopera/broadcast/hd_events.aspx

As of November 9, tickets may be ordered for ALL 8 shows and their Encores. The USA site is:
http://www.fathomevents.com/details.aspx?seriesid=622

Note that this year the Encores are on the next day starting at 3:00 ET (instead of several weeks later at 7:30 PM local time). Exception: The Tuesday January 1 show will encore on Sunday January 6.

[Tnilsson]

A bit off topic, but I just saw the trailer for Kenneth Branagh's new Magic Flute movie. It is sung in English but the bit shown in the trailer seems very good. You can find it here: www.magicflutefilm.com (on just about the most annoying website I have ever seen).

The movie has already been released in 16 countries since September 2006 according to imdb.com. The UK release is in two weeks and there is no mention of a US release at all. Very odd.

[R Johnson]

I noticed the Met's FAQ at http://www.metoperafamily.org/uploadedFiles/MetOpera/watch_and_listen/hd_events/HD_FAQ.pdf

One tidbit:

Q. Will this HD Live event be on television?
A. Yes. This year, approximately 30 days after the live transmission, the program will be
available for purchase on Pay Per View in the U.S. Additionally, PBS will broadcast the
HD Live events this season, approximately 60 – 90 days after the live theatrical event.

[R Johnson]

A bit off topic, but I just saw the trailer for Kenneth Branagh's new Magic Flute movie. .... The UK release is in two weeks and there is no mention of a US release at all. Very odd.
I've heard about this film for a long time, and have been hoping for a U.S. release. Perhaps if the Met (and LaScala) do as well in the theaters as they hope this season, that will help the Branagh Flute to get released.

[R Johnson]

Metropolitan Opera Teams With iN DEMAND

November 28, 2007 http://www.tvtechnology.com/pages/s.0114/t.9906.html

Opera buffs rejoice: The Metropolitan Opera and iN DEMAND Networks have agreed to offer all eight new performances from the Met's second season of "Metropolitan Opera: Live in High Definition" to on-demand subscribers in both HD and SD.

....

the Met's press release: http://www.metoperafamily.org/metopera/news/press/detail.aspx?id=3090

[SteKbierr]

Link? I can't find it.
__________________
I'm a financier Jim, Not a doctor!

[R Johnson]

Article in the 11/30/07 Wall Street Journal:

[See http://online.wsj.com/article/SB119638752042408939.html for the full article. (I don't know if this is included in the free portion of the WSJ site.) ]

Opera Goes to the Movies

By ROBERT J. HUGHES, November 30, 2007; Page W4

Opera at the multiplex is taking off. ... After playing to packed theaters last year in cities ranging from Minneapolis to Atlanta, this season the Met is sharply increasing the number of U.S. theaters, to more than 330 from 151, adding broadcasts in Tucson, Ariz., and Cincinnati, among others.

Even the granddaddy of all opera houses is getting in on the action. On Sunday, La Scala, the 229-year-old theater in Milan, is launching a program of high-definition broadcasts of its operas in the U.S., beginning with a production of Verdi's "Aida," directed and designed by Franco Zeffirelli. It will be broadcast at Symphony Space in New York Sunday, then at 65 other theaters in the U.S. on Wednesday. There will be six additional high-definition broadcasts: four from La Scala, and one each from Florence's Maggio Musicale and Venice's Teatro La Fenice.

Unlike the Met's programs, La Scala's shows aren't live. The Met broadcasts typically air at 1 or 1:30 p.m. Eastern time. Giovanni Cozzi, president of Emerging Pictures, which is organizing the broadcasts for La Scala, feels customers prefer to see operas a little later in the day than such live matinee broadcasts, which means that in some Pacific states, Met broadcasts begin before noon. "To see Wagner on a Saturday morning, you have to have a big passion for it," Mr. Cozzi says. "Aida" will show at 3 p.m. Eastern time on Sunday, and at 7:30 p.m. on Monday.

...

Already, before the first broadcast Dec. 15 -- Gounod's "Romeo et Juliette," starring Anna Netrebko and Roberto Alagna, and conducted by Placido Domingo -- the Met has sold 200,000 tickets to the series. The tickets are $22 for adults, $15 for children, with the specific age depending on the local theaters.

...

[R Johnson]

Reminder:
In many locations, La Scala's AIDA is in theaters on Wednesday Dec 5 at 2:00PM and 7:30PM.
http://www.emergingpictures.com/operas.htm
Venues:
http://www.emergingpictures.com/opera_venues.htm

[R Johnson]

The new Met season starts this Saturday 12/15 with an Encore on Sunday 12/16. Two interesting articles:

Matinee Idol
Tenor Roberto Alagna stars as Roméo in the Met's first live high-definition transmission of the season. And that's just one of three lead roles he's got in rotation.
http://www.playbillarts.com/features/article/7472.html

Improv at the Opera
Gary Halvorson, director of the Met's live HD transmissions, talks about his winning approach: a detailed playbook and a dose of improvisation.
http://www.playbillarts.com/features/article/7471.html

[Shaded Dogfood]

Just a few observations, for whatever they are worth for those on the fence about attending.

I had seen one of the operas last year when it was broadcast on PBS, one with Anna Netrebko, who showed herself not only to be a monster talent and crazy beautiful, but a nutty little ham when she saw a camera backstage. She didn't disappoint in any of these characteristics in Roméo et Juliette yesterday, and Roberto Alagna was no slouch either as Romeo.

The presentation in the suburban Atlanta theater was adequate. The LED theater number was either nebulous or outright incorrect and I found myself in a theater that eventually started showing I Am Legend (it looked pretty good), which negated my early arrival to get an optimal seat. This also seemed to indicate one could buy a cheaper ticket for some other show and sneak in.

When I did get into the proper theater I got a seat near the back, which was fine. The sound was extremely good, and the projector seemed better than the one used for the pre-show commercials, though the bulb wasn't particularly bright, and there were no good blacks.

I would recommend going to these things with one big caveat: the camerawork.

For those used to reasonable cutting as one would get in motion pictures the inability of the people in the control booth to be satisfied with a camera position drove me crazy. There are certainly egos to be satisfied and equal time for singers and so forth, and the inability of making sure automatic cameras are where they need to be at a certain time; and as this was going out live there was an under-the-gun mentality at play as well. There were various setups, including one looking down, and gone are the days when everything is shot with telephoto lenses. There were obvious wide-angle lenses near the pit.

But cuts would come at the worst time, going to a slightly different angle of the same scene, rather than to, say, a reaction shot. Periodically shots would change to wide shots for no real good reason. So many times one would hunger for the camera just to fix on the singers and allow the viewer to watch the singing, but for the first act at least this was not to be (things got better in the second, where everything was a bit more intimate). One would hope that all of the cameras and their tapings exist and a more humane version with more intelligent editing will be forthcoming for versions on DVD and high-def DVD.

The backstage business between the acts sort of broke the mood, but I found it pretty interesting. Most likely this will not be in later versions.

All in all, a pretty good way to spend the afternoon. I think I'll be there for Hansel and Gretel New Year's Day. I could easily recommend this to anyone who loves opera. One question remains. I though French Operas were required to have ballets in the second act?

[R Johnson]

For my taste as well, Gary Halvorson's directing style has too many quick cuts between different cameras. The shots from the robotic camera on the edge of the stage are very nice. And the new overhead camera was very effective, especially in the wedding night scene.

I can't think of anyone better suited to play Juliette than Anna Netrebko. And, as you said, Roberto Alagna was no slouch.

While backstage shots do tend to break the mood, I find them quite interesting and one of the benefits of going to the Live presentation. I like the intermission features too, especially yesterday's Lucia mad scene excerpt with Natalie Dessay - another beautiful and talented singer and actress.

Ron

[Hormone Harrigan]

The new Met season starts this Saturday 12/15 with an Encore on Sunday 12/16.

For those in Canada, Cineplex will be running an encore on Saturday, January 5th.

It seems that we posters to this thread share similar views with respect to the camera direction. An irony, that, given Gary Halvorson's remarks in the interview that R Johnson linked to. Thankfully, Mr. Halvorson has at least dropped the upstage shots that overlooked the audience whilst the singers were warbling away (as in Puritani for example).

Interestingly, the cameras were also in evidence at the Dec. 12th performance. A rehearsal of sorts in preparation for the Dec. 15th transmission, or collecting footage for a subsequent release of the performance on DVD (ProTools Goes to the Opera)?
http://newyorklawschool.typepad.com/leonardlink/2007/12/a-starry-romeo.html

Onegin and Puritani are to be released on SD DVD tomorrow (Dec. 18th). Has anybody heard - if even a rumour - that these will also be issued in some variant of High Definition?

[R Johnson]

Onegin and Puritani are to be released on SD DVD tomorrow (Dec. 18th). Has anybody heard - if even a rumour - that these will also be issued in some variant of High Definition?
I've asked, and the answer is essentially - "not now".
I think it's virtually certain that the Met's productions will be released in High Definition when (if?) HD players reach a sufficiently large installed base.

I think it's great that Opus Arte has been willing to release several titles this early in the HD adoption cycle. So far no one else seems willing to take the plunge.

Ron

[R Johnson]

I see San Francisco is jumping into the market, and promoting better quality pictures.
http://www.nytimes.com/2007/12/18/arts/music/18cnd-opera.html
http://investor.accessitx.com/releasedetail.cfm?releaseid=282373

[Hormone Harrigan]

The National Ballet of Canada is jumping in as well. They and Cineplex are offering a live, HD presentation of The Nutcracker on Dec. 22nd.

[chavel]

I see San Francisco is jumping into the market, and promoting better quality pictures.
http://www.nytimes.com/2007/12/18/arts/music/18cnd-opera.html
http://investor.accessitx.com/releasedetail.cfm?releaseid=282373

That's the new Koret Media Suite that was just put together this year. I think Sony got involved too by supplying the cameras etc.

Hoperfully there might still be some HD discs for sale after they get through showing the performances in the cinemas.

David Gockley's really out to maximize the revenue. He managed to end the season with a surplus for a change and it looks like there's more to come even after the seasons over.

[pappy97]

Just a few observations, for whatever they are worth for those on the fence about attending.

I had seen one of the operas last year when it was broadcast on PBS, one with Anna Netrebko, who showed herself not only to be a monster talent and crazy beautiful, but a nutty little ham when she saw a camera backstage. She didn't disappoint in any of these characteristics in Roméo et Juliette yesterday, and Roberto Alagna was no slouch either as Romeo.

The presentation in the suburban Atlanta theater was adequate. The LED theater number was either nebulous or outright incorrect and I found myself in a theater that eventually started showing I Am Legend (it looked pretty good), which negated my early arrival to get an optimal seat. This also seemed to indicate one could buy a cheaper ticket for some other show and sneak in.

When I did get into the proper theater I got a seat near the back, which was fine. The sound was extremely good, and the projector seemed better than the one used for the pre-show commercials, though the bulb wasn't particularly bright, and there were no good blacks.

I would recommend going to these things with one big caveat: the camerawork.

For those used to reasonable cutting as one would get in motion pictures the inability of the people in the control booth to be satisfied with a camera position drove me crazy. There are certainly egos to be satisfied and equal time for singers and so forth, and the inability of making sure automatic cameras are where they need to be at a certain time; and as this was going out live there was an under-the-gun mentality at play as well. There were various setups, including one looking down, and gone are the days when everything is shot with telephoto lenses. There were obvious wide-angle lenses near the pit.

But cuts would come at the worst time, going to a slightly different angle of the same scene, rather than to, say, a reaction shot. Periodically shots would change to wide shots for no real good reason. So many times one would hunger for the camera just to fix on the singers and allow the viewer to watch the singing, but for the first act at least this was not to be (things got better in the second, where everything was a bit more intimate). One would hope that all of the cameras and their tapings exist and a more humane version with more intelligent editing will be forthcoming for versions on DVD and high-def DVD.

The backstage business between the acts sort of broke the mood, but I found it pretty interesting. Most likely this will not be in later versions.

All in all, a pretty good way to spend the afternoon. I think I'll be there for Hansel and Gretel New Year's Day. I could easily recommend this to anyone who loves opera. One question remains. I though French Operas were required to have ballets in the second act?

Thanks for this detailed review. I was about to do a post on this in HDTV Programming but found this instead. Can you speak a little more to the PQ in the theater?

I am just wondering, when they say "Live in HD," do you feel like you watching an HD broadcast?

I am considering going to one of these but am concerned because the theater that has it here doesn't have a commercial DLP projector (I have to drive about 30 miles to see HD Cinema in DLP), but I know they use some kind of Christie digital projector for pre-show commercials, and I'd hate to think that was the PJ used for the Met in HD Live, it's horrible with blacks.

I don't just want to wait for a TV PPV or HD-DVD/Blu-Ray because I think the idea of live in HD is nice. I am just concerned that it won't live up to it at the Century 25 megaplex in Union City, CA. :)

[R Johnson]

I am considering going to one of these but am concerned because the theater that has it here doesn't have a commercial DLP projector (I have to drive about 30 miles to see HD Cinema in DLP), but I know they use some kind of Christie digital projector for pre-show commercials, and I'd hate to think that was the PJ used for the Met in HD Live, it's horrible with blacks.
1. If there's a opera you want to see, just go! Get there early and get a nice seat, probably toward the back. You'll still enjoy the opera even the video quality will not be ideal.

2. Call or email the theaters to find out what they're using.

In my research in the Chicago area, I found NO theater using a DLP Cinema grade projector for the Met. They're using the pre-show projectors. Even a place that has 16 DLP Cinema auditoriums told me they were bringing in a HD LCD for the Met.

The most convenient theater for me is using an XGA unit cropped to 1024x768. I've contacted the Met about this non-HD theater. For Romeo, I traveled about 30 minutes more to a theater that at least had a 1366x768 LCD.

Ron

[Shaded Dogfood]

I would say R Johnson knows more about it than I do. The theater I saw Roméo et Juliette at had a system that looked pretty good. It looked higher def than the usual pre-show resolution, though don't expect a dmax sort of black. The sound was great, however, and seemed better to me than Dolby.

Live dangerously! Just go on and go. I think you'll be a happy camper.

[R Johnson]

NYT: You Go to the Movie Theater, and an Opera Breaks Out
By ANTHONY TOMMASINI
http://www.nytimes.com/2008/01/03/arts/music/03hans.html

I'm planning to catch the "Encore" on Sunday Jan 6 at 3:00 ET.

[Shaded Dogfood]

I'm planning to catch the "Encore" on Sunday Jan 6 at 3:00 ET.

Yeah, I missed it too, opting for a free vegan feast on New Year's Day instead.

They praised the camerawork. I wonder if they've learned to stop all the manic cross-cutting.

[R Johnson]

They praised the camerawork. I wonder if they've learned to stop all the manic cross-cutting.
Video director's choice I presume. Hansel had a different director (Barbara Willis Sweete) than Romeo (Gary Halvorson).

[R Johnson]

I learned my lesson. I went over to the theater for "Macbeth" last month and it was sold out. So I ordered tickets on-line in advance for this weekend's "Manon Lescaut" with Karita Mattila.

[Tnilsson]

I agree with the critical comments about the opera camarawork you generally see. I recently purchased Glyndebourne's 2006 production of Cosi fan tutte. It is a marvelous wide-screen production with great sound, but the camera would often focus on just two singers at a time, even when four or more people were singing at once. Close-ups are nice now and then, but I think it harms the production when you focus on only a couple of the people who are actively singing. I suppose the directors and editors do that to help people who still have small TVs but it is irritating to those of us with projection screens!

I have not been able to see any of the Live in HD operas, but I hoped that, since they are filmed for the big screen, they would not fall prey to this same problem. Sounds like my hopes were in vain.

[oink]

^Gotta agree with you on the lack of good camera work.

For me, it seems like an easy thing to film an opera....it should give the illusion of being in the audience (not the cheap seats, of course).
Most shots should be of the entire stage, (with some of the orchestra pit at the bottom of the screen).
How can the stage scenery convey mood and be appreciated otherwise?
Close-ups of the singers are fine....when emphasizing key moments of the characters (per the libretto).
IMO, of course.;)

[Shaded Dogfood]

It seems to me there is no problem with intelligent cutting of the sort one would see in a film. Older operas on video tend to be long telephoto lenses and more of the whole stage than is necessary. It's just that Gary Halvorson's cutting on Roméo et Juliette was so damn busy. It was like everyone in the control booth was on a quart of coffee, if not crystal meth.

I need to watch Bergman's Magic Flute again to satisfy myself that it can be done intelligently. My memory of the film is pretty positive, Swedish singing and everything.

[R Johnson]

San Francisco Opera's schedule for this spring's set of four operas in movie theaters has now been posted, including theater locations: http://sfopera.com/cinecast.asp Four showings: Saturday and Sunday matinées, followed by Monday and Tuesday evenings.

[R Johnson]

Some tidbits from the Met's press release at: http://www.metoperafamily.org/metopera/news/press/detail.aspx?id=3441

The Met: Live in HD

The Met's Live in HD transmissions will expand from eight to ten live transmissions during its third consecutive season, which begins in October. The Met: Live in HD is now presented in 17 countries around the world; 590,000 tickets have been sold to date this season.

EMI is releasing six of the productions on DVD in the coming months: Hansel and Gretel, Macbeth, and from the 2006-07 season, Tan Dun's The First Emperor will be issued in May 2008. Manon Lescaut, Peter Grimes, and La Boheme will be available on DVD later in the year.

[No mention of Blu-ray discs]

[R Johnson]

The San Francisco Opera seems to let theaters set their own prices. The two theaters in the Chicago suburbs are charging $20. Two theaters about 55 miles out are charging $12.00. And the CinemaWest in Fairfax, CA was charging a mere $6 according to 'chavel' in another thread. Two more showings of La Rondine on Monday 3/10 and Tuesday 3/11.

[oink]

[No mention of Blu-ray discs]
That is too bad.:(

As much as I love opera, these days I must have it in my HT.
The thought of the Ring or Mozart in 1080p and lossless audio is worth waiting for IMO.

[Shaded Dogfood]

Well I plunked my $44 down for Peter Grimes and Tristan and Isolde, so I'm committed (and after 5 1/2 hours for Tristan I may need to be).

[R Johnson]

We're going to the Encore of "Peter Grimes" -- one of my favorite operas. I first saw it in the 1970s with Jon Vickers at Lyric Opera. That impact of that performance is not likely to be topped.

I'm still debating about 5 1/2 hours of Tristan. I think this is the same production that was shown on PBS a few years ago. I decided I didn't need that DVD. Hard to maintain visual interest...

oink: While the quality of the presentation in the theaters is not as good as what we (hopefully) will have in a few years in our homes, I think it's easily worth attending. But I'm not likely to buy the DVD -- I'd wait for the Blu-ray.

[Shaded Dogfood]

I don't believe this will have such a tubby Isolde, but I'm not familiar with the soprano. I did look at the webpage for the opera, and it indeed does seem to be another of those minimalist productions with geometric shapes and colored spotlights. Not a big fan of such stuff, though I ate up Opus Arte's recent release of Parsifal and it was that way.

Wagner was such a dreadful excuse for a human being, his stuff is always too long and frequently kind of silly, but there's just something about Parsifal...

[oink]

Wagner was such a dreadful excuse for a human being, his stuff is always too long and frequently kind of silly
Agreed, RW is one of the least likable of the great composers....well....OK, he was a genuine a$$.:D
Another example of why seperating the Artist from his/her Art is a good thing.

But I'm not likely to buy the DVD -- I'd wait for the Blu-ray.
I will.;)

[Robert Clark]

I don't believe this will have such a tubby Isolde, but I'm not familiar with the soprano. I did look at the webpage for the opera, and it indeed does seem to be another of those minimalist productions with geometric shapes and colored spotlights. Not a big fan of such stuff, though I ate up Opus Arte's recent release of Parsifal and it was that way.

Wagner was such a dreadful excuse for a human being, his stuff is always too long and frequently kind of silly, but there's just something about Parsifal...


No doubt about that... And the Ring is, of course, an unparalled artistic achievment. Evil Genius is the word that always springs to my mind about Wagner.

I recommend the dream Isolde of Waltraud Meier:http://www.amazon.com/Wagner-Tristan-Isolde-National-Theatre/dp/B000059H8H******sr_1_5?ie=UTF8&s=dvd&qid=1205197740&sr=1-5 It's anamorphic and Meier is about a sexy an Isolde as you will ever see.

Too bad the director is a fool and the Tristan is a lummox...

[R Johnson]

I recommend the dream Isolde of Waltraud Meier: It's anamorphic and Meier is about a sexy an Isolde as you will ever see.
Perhaps this link will work better: http://www.amazon.com/Wagner-Tristan-Isolde-National-Theatre/dp/B000059H8H/

Deborah Voigt might fit into the infamous black dress these days. Her web site: http://www.deborahvoigt.com/

[Shaded Dogfood]

I recommend the dream Isolde of Waltraud Meier

Couldn't get your link to work, but might that be the performance with the ocean liner and deck chairs and the umbrellas in the drinks? If so, I have it but have not yet alotted the time to watch it. I just remember listening to Furtwangler's great peformance from the early fifties a quarter century ago and being blown away by it. I have my hopes up for March 22nd.

Of course, R Johnson to the rescue. Yep that's the one I have. I'm getting interested in pulling it out now, and maybe watching Parsifal again as well...

[R Johnson]

You guys are convincing me that I NEED to attend Tristan. Lets hope Ben Heppner is in good health on the 22nd.

NEW YORK (AP) — Tenor Ben Heppner will miss Monday's opener of the Metropolitan Opera's highly anticipated revival of Wagner's "Tristan und Isolde" because of a virus. Heppner and soprano Deborah Voigt, two of the world's leading Wagnerian singers, had been scheduled to sing "Tristan" together for the first time, and the six-performance run is close to sold out. Heppner missed Friday's dress rehearsal because of the virus and was replaced by John Mac Master. Mac Master will replace Heppner on Monday night, the Met said Saturday. Heppner remains scheduled to sing with Voigt in performances on March 14, 18, 22, 25 and 28. The March 22 matinee is scheduled for a high-definition telecast to theaters around the world.

[Shaded Dogfood]

Tristan is such a marathon that any presentation is sort of an occasion. Ms Voigt does seem to be a plus-sized lady, but a comely one with good credentials. Heaven knows, I'd prefer sets that resemble what Wagner was imagining. Still, I am a long-time fan of live broadcasts, having put up with Saturday Night Live for over thirty years. This seems to be something I want to be a part of.

And you know you do too, R J. :)

[R Johnson]

Lets hope Ben Heppner is in good health on the 22nd.
Reviews (without Heppner):
http://www.nytimes.com/2008/03/12/arts/music/12tris.html
http://www.ft.com/cms/s/0/cedeab32-ef88-11dc-8a17-0000779fd2ac.html

[R Johnson]

"... Royal Opera House (ROH) owned Opus Arte announced today that they have signed an exclusive agreement with Montreal based DigiScreen Corporation and The Pillar Group, Ltd. for distribution of ballets and operas from ROH and other international Opera Houses and Dance Companies represented by Opus Arte in cinemas worldwide.

DigiScreen Corporation is pleased to announce that the Royal Opera House in HD Spring Performance Series will be launched on March 30th, 2008 in cinemas across Canada and the U.S. This impressive series will consist of four of The Royal Ballet's most beloved and admired works and The Royal Opera's passionately popular CARMEN- all digitally captured for the first time. ..."

http://www.scena.org/blog/2008/03/royal-opera-house-performances-on-hd.html

[Hormone Harrigan]

The 2008 broadcast season for Great Performances at the Met (March - June) gets underway on March 26th with an airing of Hansel and Gretel, the rest to follow. The Oscar-winning animated short, Peter & the Wolf (2008) will be the curtain warmer @ 8 PM.

As always, check the listings for your own PBS affiliate. For WNED viewers who prefer Double Ds, the start times are staggered again this year, at least for this presentation (eg. WNED: April 3rd & 6th; WNEDD: March 26, 27, 30, 31. R et J April 6.)

[Shaded Dogfood]

Well, there's good news and bad news from the Met today.

Bad: They showed previews for Tristan und Isolde and only had Isolde alluded to.

Good: Peter Grimes.

I used to regard Britten as just another "English Renaissance" guy with a penchant for choral works, but the more I heard him, the more I came to the conclusion he was a truly great composer (and that the English Renaissance was chock full of excellent composers). Today's Peter Grimes knocked me for a loop.

I'm not the most discerning critic of opera, not always able to tell if the singers were really all that good or not, and unable to figure out opera reference books and why there is so much disagreement on performances. But I know what I like, and I thought this Peter Grimes, was exceptional, especially Anthony Dean Griffey (from just up the road in Highpoint, NC) as Peter, and Donald Runnicles' white-hot conducting, and the audience on camera and in the theater agreed. And even Gary Halvorson's editing had calmed down and this time really contributed to the drama.

Once this makes it to Blu-Ray it will be a must-have for lovers of both theater and opera.

[R Johnson]

Well, there's good news and bad news from the Met today.
I listened to the Peter Grimes radio broadcast today, and have tickets for the HD encore tomorrow. I thought Anthony Dean Griffey gave an excellent performance as Grimes. (Speaking as one who was 'knocked for a loop' by this opera as sung by Jon Vickers in the 1970s.)

Tristan: At Monday's opening, Heppner was replaced by John Mac Master, who gave it his best, but was not up to the challenge according to the reviews. According to a post on rec.music.opera, at the second performance on Friday, Gary Lehman sang Tristan. During Act 2, Deborah Voight had to quit. She was replaced by Janice Baird. At the end: "Standing ovation for the pair, then for the whole cast, then for Jimmy. It's nearly 1 a.m. and nobody wants to leave without screaming. Nobody wanted to have been, for those six hours, anywhere else in the world."

[oink]

^No way my back could have handled 6 hours...:eek:;)

[R Johnson]

Today's Peter Grimes knocked me for a loop..... Once this makes it to Blu-Ray it will be a must-have for lovers of both theater and opera.
The "Live in HD" presentation was very well done. And it will likely be even better on our home systems when the Blu-ray eventually comes out. (The LCD projectors, which all the theaters in my area use, are just "OK".)

Anthony Dean Griffey was absolutely superb in the title role. I think I must agree, as he told Natalie Dessay, that he "was born to play the part." The rest of the cast was excellent. The chorus and orchestra sounded great. A well deserved standing ovation from the audience in New York.

I thought the set worked pretty well, at least for the video. My only quibble is that the pathos of the penultimate scene was not staged by John Doyle to anywhere the effect that I've seen previously. Unfortunately that's a big quibble for me. The noise from moving the set didn't help in the transition to the final scene.

It's curious that the encores are not promoted very effectively. The approximately 280 seat theater I attended on Sunday had perhaps 50 people, but they were sold-out on Saturday.

[Shaded Dogfood]

Anthony Dean Griffey was absolutely superb in the title role. I think I must agree, as he told Natalie Dessay, that he "was born to play the part."

I think there is a certain "silliness" to virtually all opera (Mozart's non opera seria being an exception), with the conceit of people singing rather than talking, and of most opera dealing with bodice-ripping emotions, so that acting is desirable but not essential. In Peter Grimes acting is absolutely essential, and though some of the supporting players were playing to the balcony, all the performances were pretty faultless.

I thought the penultimate scene was pretty effective in that the final decision on Grimes' fate was delivered matter-of-factly, and Grimes just goes and does it, sort of book-ending the final scene, where the people hear of what happened but don't quite see it, and we know they will continue their existence as if Peter Grimes had never been there.

It's curious that the encores are not promoted very effectively. The approximately 280 seat theater I attended on Sunday had perhaps 50 people, but they were sold-out on Saturday.

I think people want to be there in the theater as it happens. And around here not all the theaters do the re-broadcast.

It was also interesting to see that that eccentric little lady doing the intros was that ungodly sound machine that did the Lucia a few weeks previous. Guess I'll have to go to the Donizetti at season's end, especially considering Flórez is around as well. Let's hope the virus has departed by then. :)

[R Johnson]

A nice essay on the Peter Grimes performance: http://www.scena.org/blog/2008/03/met-in-hd-peter-grimes.html

[Shaded Dogfood]

More news from the cursed Met presentation of Tristan und Isolde, with the fate of one of Heppner's replacements:

"...this American [Gary Lehman] narrowly escaped serious injury in the third performance, on Tuesday.

The production, a stark and symbolic German affair, requires Tristan in Act 3 to lie on a bed that rolls slowly down the raked stage.

For whatever reason, the bed descended unrestrained in this performance. Only the obstacle of the prompter's box kept Lehman out of the orchestra pit. Happily, he raised his head before impact but still bruised his shoulder. There were shrieks from the audience.

Levine stopped the performance, and the stage crew helped Lehman to his feet. After consulting the house doctor, the tenor returned, and the show went on. You can imagine the applause."

Cribbed from a web reprint from ARTHUR KAPTAINIS, The Montreal Gazette

At any rate, this is who sang this afternoon: Deborah Voigt as Isolde, Robert Dean Smith as Tristan, Matti Salminen as King Marke, Michelle DeYoung as Brangane and Eike Wilm Schulte as Kurwenal.

The goofy staging seemed like it would work in the first two acts, but the third act showed Tristan to be at home by having little castles and figures on horseback come up through trap doors and populate the stage. Go figure. At least Smith did not slide into the prompter's box, but for a man with an abdominal injury he certainly roamed around the stage a lot before secumbing at act's conclusion.

But the conclusion of the audiences in both the movie theater and at The Met was that some very beautiful sounds were produced by the entire cast. Every now and then it looked like it would break out and become a transcendant experience, but the set and the staging fought against it (and the preparation: Susan Graham, the host, asked Debbie Voight how much rehearsal she and the other Tristans got. "None'" the vaguely pissed off, extremely funny soprano replied. But she alluded to how so far everything had gone pretty well.)

Robert Dean Smith should have a very good career in store for himself.

[Hormone Harrigan]

Always the responsible one, I have edited my above post to reflect a WNED schedule change from what was originally listed in the DVR guide.

[R Johnson]

Amazingly, WTTW in Chicago has scheduled the first five on 11 and on 11-1 in HD, mostly on Sunday afternoon.
http://www.wttw.com/main.taf?erube_fh=wttw&wttw.submit.EpisodeDetail=1&wttw.EpisodeID=167731&wttw.Channel=WTTW

Time for me to get a HTPC with DVR capability.

[Hormone Harrigan]

Time for me to get a HTPC with DVR capability.


Indeedy. Great Performances at the Met was the driving force behind my purchasing a DVR last year.

With tickets already in hand, "La Bee oh eme" was to have been our next attendance but the posts above have made it quite clear that we'll be whistling on over to the SilverCity on March 29th for the encore of Peter Grimes. Praise be to Cineplex for providing something of a spread between the live presentations and the repeats here in Canadia. Are the bits during the intermissions retained or is it just the opera for the encores?

Reading through the posts here and other reports, we seem to be extremely fortunate in my area with respect to the technical aspects of the presentations. Audio dropouts (hiccups) during the transmissions have been rare to non-existent during the operas that I have attended and any visual breakups or blocking that have occurred were limited to a second or two (and from what I remember only during the intermission festivities).

Fleshtones appeared accurate as did colours (Romeo et Juliette a riot of it, for example). It would surprise me to hear anyone say that the brightness was unacceptable. I am a dyed-in-the-wool CRTer and did not find the black levels to be a distraction. This is not to say that they were at CRT levels, but simply that they were sufficient enough that I never even noticed that something might - or might not - be lacking.

On the negative side, there has been a slight, everpresent haze over the screen image but having had little experience with projected HD (let alone projected digital of any kind) I cannot comment further. That said, if I were to find this haze wholly objectionable then I would also have to consider that the operatic performance at hand just wasn't working for me, leaving the mind to wander to ponder such things (especially so if I were to, perhaps, start projecting in my own manner ... as in, astral).

I suppose another negative is that we're having to arrive earlier and earlier to get good seats. The last go around we entered the 'auditorium' 45 minutes early and I was shocked to see hundreds of people already planted. The situation is rapidly reaching the point where I fear I will have no choice but to employ the Kubrickian Method for procuring seats anywhere close to what I consider to be ground zero. (This involves a cattle prod and a rousing rendition of, Singing in the Rain.)

All in all, it's real and it's spectacular ... and very, very seductive on such a huge screen. An immensity of experience that methinks will be very difficult to recreate at home. We just now have HD cable and the Double Ds in my area so we shall see ....

[R Johnson]

Are the bits during the intermissions retained or is it just the opera for the encores?
The encores I've seen in the Chicago area theaters are complete replays. The PBS telecasts tend to be chopped down to the opera.

[R Johnson]

Any reports from people who attended Tristan? I wasn't able to attend.

Reports I've read indicate that the performance was very good. Given the static nature of the piece and the abstract staging, the Met's video director used multiple camera angles in "tiled windows" on the screen. There was mostly quite negative response to this (one-time?) experiment.

[Shaded Dogfood]

I liked it, though Debbie Voight smarty-pantsing in the intermission sort of broke the mood. And Robert Dean Smith didn't seem to have his stage business worked out to a very good dramatic effect in the third act. The "split screen" business, reminiscent of the fad back in the end of the sixties (Woodstock used it to a good effect, though it didn't work at all in The Ballad of Cable Hogue) sort of worked at times but was an annoyance at other times. One wonders if it had something to do with people demanding equality of screen time. Generally when it was used one got little postage-stamp sized windows to watch people in. It was hard enough to see in a "High Definition" theater; watching this edit on regular television just wouldn't work at all. You could only pull this sort of presentation off in a high-concept, abstract production.

It certainly had its moments, that's for sure (somewhere I read recently, probably cruising the web to see what others thought of the broadcast, that Rossini was supposed to have said that Wagner operas had their great moments and miserable hours).

[Hormone Harrigan]

Well, hell. It is with great embarrassment that I must confess that I was premature when I ejaculated that "...it's real and it's spectacular ...". Between the Reservists who were staking claim to hectares of prime seating for family/friends/bosses' "nieces" who were not even in the building, and Cineplex staff messing with the projection setup and the house lights. what was "spectacular" became just adequate for this past weekend transmission of La Boheme.

The projector had scooted over to the far side of the booth resulting in errors of geometry and focus with a concomitant loss of detail. Mr. Black, for whatever reason, never made it to the theatre, abandoning his role to the understudy, Mr. Grey. The Colours, a lackadaisical group at the best of times, took advantage of Grey's less than commanding presence and turned in a lacklustre performance (this despite Mr. Audio incessantly shouting at them in Italian to get off their beehinds and emote).

The haze I mentioned in an above post was more intrusive than in past and at one point, when a camera angle from the back of the house was selected, I was almost certain that I could hear the sound of a fog horn.

Some of the focus issues were resolved during the first intermission and most of the fine detail returned. At a later point the audio issues were dealt with and the sound ceased to be physically painful. The geometry errors, the pale colours, and the haze were present throughout. It remains to be seen if Mr. Grey has been given tenure.

I am a huge fan of Rep and Art House cinema and as such have learned to roll with the punches in terms of the quality of the presentations. But this, just too many punches in too rapid succession. I suppose in part that some of my disappointment stems from the dashing of expectations but at the core, it is the ruination of anticipation that has left me adrift.

At all events, it is not my intent to rant and have therefore left out a lot of the details - the rest of the 'punches' so to speak that left me floundering the entire first act as I attempted to get my head in the game.

A question to those who attended La Boheme: in the past The Met has transmitted interior shots of the house and the orchestra prior to the commencement of the opera. On Saturday it was just The Met promo bits then wham, right to the intro with Ms. Fleming. Was this the same at your venue?

[oink]

I am a huge fan of Rep and Art House cinema and as such have learned to roll with the punches in terms of the quality of the presentations. But this, just too many punches in too rapid succession. I suppose in part that some of my disappointment stems from the dashing of expectations but at the core, it is the ruination of anticipation that has left me adrift.


Welcome to the wasteland that is commercial "Movie Theaters.":(

And exactly why so many prefer to have HTs.

[R Johnson]

Between the Reservists who were staking claim to hectares of prime seating for family/friends/bosses' "nieces" who were not even in the building....
Peter Grimes references?

The projectors used for the Met have not been the best, but I do enjoy the "live" or "encore" showings at the theater. Actually I prefer the encores, as the theaters are not filled. But for scheduling reasons, Regiment will have to be live, if I can still find tickets.

For best visual quality, we'll have to wait for Blu-ray. The PBS telecasts should be pretty good on our home systems.

[Hormone Harrigan]

Peter Grimes references?



Not intentional references, but words can take on lives of their own.

Speaking for myself, the 'Live' transmissions provide a certain something-something over the 'Encores', an electricity if you will. An occasion of shared experience - New York and here - that charges the air with anticipation. This mirrored experience becomes, in a sense, an accelerant, but the spark, the ignitor, the "oooh, it's live" comes from the actual pre-performance transmission of the orchestra warming up as the patrons at The Met fill the house. Take that visual away as happened on Saturday and the Encores become not just appealing, but preferred.

Based on the preview, Regiment looks like it will be great fun so methinks we'll shoot for the Encore on that one (the latter part of May in Canadia I believe, so a welcome spread between it and that mess last Saturday). I had considered hauling the Cineplex manager aside and applying the concept of 'shame', something along the lines of, "You were providing a stellar experience. What Happened?", but with only one opera to go my comments will surely be forgotten so I'll wait to see how things shake out next season. In the interim, I'll prep myself for Regiment by rationalising that we must have had a substitute projectionist for Boheme and that things will go back to what they once were.

Denouement - 11-11-08

The same projector was in the booth at a subsequent visit to the venue and it's the pre-show unit, what looks to be an Infocus 777. I have no idea what projector had been used when I wrote post 83 of this thread (prior to Boheme) as the projectionist and cooling ducting were blocking my view the one time I unintentionally looked (didn't want to turn to stone). As an aside, no cooling ducts were visible in the booth for the 777/Boheme presentation. I've not been to a Met event since La B. so cannot comment further.

[R Johnson]

The Metropolitan Opera Announces Expansion of Live, High-Definition Transmissions to Eleven in 2008-09

"The Met: Live in HD" kicks off in North America on September 22 with the Met's Opening Night Gala performance; Series continues worldwide on October 11;

Special encore performances of La Boheme in Canada, the U.S., and Europe close the current 2007-08 series on May 3, 14 and 19

April 22, 2008

http://www.metoperafamily.org/metopera/news/press/detail.aspx?id=3810

[Shaded Dogfood]

Some really interesting stuff next year.

I bought my tickets to La Fille du Régiment about 3 hours ago.

[Hormone Harrigan]

Some really interesting stuff next year.

I bought my tickets to La Fille du Régiment about 3 hours ago.

A season pass (or three, or five) was offered in Canada this year with a slight discount in price. I imagine it will be the same for next year. Looks like a five packer at the least for 2008/09.

Heads up to PBS viewers: at least one affiliate has been slotting in reruns of last year's performances in between airings of this year's. Gotta love those double Ds and a DVR; The Magic Flute on the weekend (station went down) and this again this AM; Puritani May 4th and ?.

CBC's BOLD channel (formerly known as Country Canada) has also been running last season's operas on Sunday evenings (but in standard definition).

[Shaded Dogfood]

La Fille du Régiment was just incredible.

Natalie Dessay and Juan Diego Flórez both brought down the house; Flórez got what seemed to be a three-minute standing ovation for the aria with all the high "C's" near the end of the first act. He was not her equal as far as being a singing actor, but he was not bad (and the between-act interview body language between the two indicated that he adored Natalie; she seemed somewhat preoccupied and he was offering some sort of consolation). Dessay was simply irresistable: on the adorability scale from 1 to 10, with Leona Helmsley being a 1 and Audrey Hepburn being a 12, Natalie was easily a 10.5.

The rest of the cast was also fine, the direction was superb, the color was tweaked somewhat to be less saturated than usual, and the opera was really, really funny (with melancholy undertones), something along the lines of the Marx Brothers' Duck Soup.

The world can only pray that this will be released in Blu-Ray, for it is a must have. I could have watched it over again Saturday afternoon. I think it could be used on those people who do not like opera to start the process of winning them over.

P.S. I poked around a bit, and found out a DVD already exists, and most likely of this production:

http://teamsugar.com/group/1052808/reviews/1585040

[R Johnson]

La Fille du Régiment was just incredible. .... P.S. I poked around a bit, and found out a DVD already exists, and most likely of this production:
We enjoyed the performance very much. Most of the theaters in our area were sold out, or at least packed.

Amazon (USA) has the DVD of the production at Covent Garden (for a mere $16.99):
http://www.amazon.com/Gaetano-Donizetti-regiment-Corbelli-Campanella/dp/B0013V33DG/

I didn't catch the LaBoheme, but might have go to the special "Encore II".

[R Johnson]

The Met is reminding us that $125 and up members have priority ticket ordering privileges starting August 8. The general public ordering starts August 22. Opening night gala plus 10 operas: http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx

The participating US theaters are not yet posted. http://www.fathomevents.com/details.aspx?seriesid=626
"The Metropolitan Opera: Live in HD returns to theatres nationwide for its third season this fall beginning with the Met’s Opening Night Gala starring Renée Fleming on Monday evening, September 22, 2008. The Met will transmit a total of eleven live and ten encore events this season from September to May.

With the exception of the Opening Night Gala, all events are on Saturday afternoons throughout the season. In addition to the 10 live Saturday exhibitions, Wednesday encore performances will be shown the second or third week after the respective live event. ..."

[Hormone Harrigan]

To reiterate a post that was lost in the database failure: Universal has announced its intent to issue Puritani and Onegin on Blu-Ray. (Sorry, no link. Just as the database forgot its business, so too have I.)

I have viewed a goodly portion of the SD-DVD Onegin on a Pioneer 8G Kuro Elite and it is a festival of artifacts. Hopefully the Blu-ray version will improve upon that. Then again, maybe not. The WNED-HD encore broadcast barely kept things under control, which is odd since I don't recall any such issues during the Live transmission ... I'm rambling, aren't I? 'Bye.

13th August: I can no longer access the Universal website (suspected Flash problem on my end) but I see that the upcoming Universal Blu-Ray titles are listed elsewhere on the Forum. http://www.avsforum.com/avs-vb/showthread.php?t=1021639 under the "October 2008" heading. http://www.universalmusicclassical.com/news/detail.aspx?nid=3603 . My memory restored, at least for the next few minutes.

VV Universal is invoking Manon? Blessed be.

[Kal Rubinson]

To reiterate a post that was lost due to the database failure: Universal has announced its intent to issue Puritani and Onegin on Blu-Ray.Too bad. I added that, based on a check-disc of the Manon, it looks (and sounds) like Universal is doing it right.

Kal

[R Johnson]

The USA theater lists and dates are now live on http://www.fathomevents.com/details.aspx?seriesid=626 though it says
"Met members on sale 8/8. Non-members 8/22. Join the Met"

There are about 466 theaters in the USA for the Live shows.

[R Johnson]

I bought our tickets at the theater for the Monday September 22 Opening Night Gala with Renee Fleming. See http://www.fathomevents.com/details.aspx?eventid=730 .
I imagine many theaters will be sold-out for this.
Advance ticket purchases might be a good idea.

Prices seem to be the same as last season.

[R Johnson]

Tonight!
Sold out at my nearest theater.

[Shaded Dogfood]

No other recent comments on the broadcasts? I am probably going to try to get a ticket for Damnation of Faust tomorrow. Sounds like a modernist production, but Berlioz is usually pretty wild and crazy.

[R Johnson]

I saw the opening night gala. The theater I went to had an inadequate projector -- to the point that most people complained and got their money back. I saw the encore of Salome at the same place. They had a much better projector, but not as sharp as I'd expect. I missed Doctor Atomic (but I saw it live in the Sellars production). A friend saw its encore at a complex with "16 Digital Auditoriums." They used a pre-show projector for the Met. (Apparently their Digital Cinema projectors are not setup to accept 1080i signals.) I'm planning to see the encore of the Berlioz for the Lepage "staging". The live transmission is sold out at some of theaters near me.

I just received the Blu-ray of the Met's Eugene Onegin. Much nicer to be able to use my projector and sound system! I also received the Blu-ray of Manon from Berlin with Netrebko!

[Shaded Dogfood]

Damnation was a bit of a disappointment. It relies on what used to be known as a "process screen", or rather, a great deal of them, and the high-def digital cameras just didn't pick their images up properly, resulting in a muddy, unpleasant image. The second half seemed to look a little better, but not by much. It appeared digitally manipulated in some fashion, too, to make it browner, maybe to draw attention from the shortcomings of the technical end of things ("it's supposed to look that way"). And the opera/oratorio/tableaux was itself pretty looney, even for Berlioz, with strange, episodic selections from the Faust story.

I would have certainly enjoyed it more if it had looked looked worth a damn. nation.

[R Johnson]

A recent post (which has since disappeared) inquired about artifacts on the Eugene Onegin BD. I have not observed any problems with artifacts on the disc (using my 720p DLP projector).

However, the leaves have got to be difficult to encode. I have the sense that these shots were softened in order to avoid objectionable artifacts.

[Hormone Harrigan]

A recent post (which has since disappeared) inquired about artifacts on the Eugene Onegin BD. I have not observed any problems with artifacts on the disc (using my 720p DLP projector).

However, the leaves have got to be difficult to encode. I have the sense that these shots were softened in order to avoid objectionable artifacts.

That was my query, posted before dinner on Saturday. Woke up Sunday morning filled with the spirit - of community that is - and decided to go ahead and purchase the Blu-ray version anyway and give back to the people by donating my SD DVD copy to the library. I am doing the same with Puritani.

The remarks following my query to you were of no import on their own hence the removal of the entire post. Perhaps I should add that I previously amended an above post concerning the projection at La Boheme (now known to have been an Infocus 777, used in a 400 seat-or-so auditorium), overwriting comments deemed by me to be no longer applicable. Just dotting all of the 'i's and the 't's here.

I'll close by mentioning that I most definitely recall the leaves being well defined and free of noise during the live broadcast, just as I remember Ms. Fleming's mesmerising eyes. CBC's SD Bold Channel aired an encore of Onegin yesterday evening and the same artifacting was present but better controlled than on the SD DVD, similar to what I had observed on a PBS HD encore broadcast (but with a softer and less defined image, of course).

[R Johnson]

I'll close by mentioning that I most definitely recall the leaves being well defined and free of noise during the live broadcast, just as I remember Ms. Fleming's mesmerizing eyes.
Not to get bogged down in the minutia that afflicts so many threads on AVS, but....

I'd characterize the shots with bushels of leaves as pretty well defined with no noise, but they did not appear as 'crisp' or sharp as I'd expect. In the gloom of night before the duel takes place, I had the impression that some softening was used to minimize video noise from low light levels.

When the sun rises after Lenski's death, there is rather noticeable posterization, which perhaps is what you had alluded to in your deleted post. I suspect that this is due to the lighting effect, or possibly due to the camera electronics. I'm quite certain that it's not attributable to the Blu-ray encoding. (I remember much comment on a similar effect on 'Planet Earth'.)

With the space available on BD, and not being subject to broadcast time restraints, I really wish the disc producers would run the credits after the performers have taken their bows.

Not withstanding the above minor quibbles, I'm very pleased with the Onegin BD.

On a related topic, with acquisition of a Western Digital Media Player, I now expect to be able to play back the recordings I made last spring from PBS of last season's eight Met performances.

[Hormone Harrigan]

Not withstanding the above minor quibbles, I'm very pleased with the Onegin BD.

Thank you for the report on what sounds/seems to be a fine transfer. Your remarks are appreciated.

Have you found any easter eggs on the disc? I'm betting there is at least one and it's Dimitri Hvorostovsky performing, Enter Sandman.

May I please be excused from the table? Thank you.

[R Johnson]

...Have you found any easter eggs on the disc? I'm betting there is at least one and it's Dimitri Hvorostovsky performing, Enter Sandman.
Sorry, no Easter Eggs found.

I was too busy checking out last season's Met broadcasts recorded to an external hard disk last spring using a USB ATSC tuner stick. The new WD TV HD Media Player worked quite nicely.

[oink]

I'm betting there is at least one and it's Dimitri Hvorostovsky performing, Enter Sandman.

May I please be excused from the table? Thank you.

LOL!
Now, that is just sick....:eek::D

[R Johnson]

We're planning on attending the Encore of "La Damnation de Faust" on Wednesday night. I see the price for the Encore is lower than for the "Live" showings. Attendance is usually a LOT lower.

[R Johnson]

The Berlioz on Wednesday was quite interesting. A most unusual production. The projector at the theater we attended was bright enough, but the contrast and black level were marginal.

On Saturday we attended a Christmas Concert at Wheaton College in a 2400 seat "chapel". They had a big screen over the stage displaying a very bight and sharp image. We immediately said "That's a real HD projector." It turned out to be a Christie Roadster HD12K -- 3 chip DLP, 1920x1280, 12,000 lumens, $70,000.

If only the movie theaters used that caliber of projector for the Metropolitan! I'm beginning to think I'd rather wait for a Blu-ray or a PBS HD telecast viewed on my projector rather than continue to be disappointed at the movie theater.

[oink]

I'm beginning to think I'd rather wait for a Blu-ray or a PBS HD telecast viewed on my projector rather than continue to be disappointed at the movie theater.
Although my community does not do the broadcasts, I would still wait for BD.
Nothing comes close to the PQ/SQ of a good BD, IMO.

Patiently waiting for an announcement....;)

[R Johnson]

For me, the problem with waiting patiently (instead of seeing the Met in the theater) is that there's no assurance that there will be a Blu-ray release or that it will be shown by my PBS station. I think there are only two Met BDs so far. My PBS station showed 3 of the 6 performances from the first season in HD (when I had no recording capability). But they did show all 8 of the second season (and I did record them).

[oink]

For me, the problem with waiting patiently (instead of seeing the Met in the theater) is that there's no assurance that there will be a Blu-ray release or that it will be shown by my PBS station. I think there are only two Met BDs so far. My PBS station showed 3 of the 6 performances from the first season in HD (when I had no recording capability). But they did show all 8 of the second season (and I did record them).

You're right, there is no guarantee.
I am trying to be a glass-half-full guy here.:p
Although it is against my cynical nature.:D

[Shaded Dogfood]

Thaïs certainly was good. I think it was among the tops of the simulcasts I attended, a real emotional, bodice-ripping Grand Opera experience. Though it appeared set in the 19th Century, the sets and costumes were right on target, and the singing was first-rate. Renee Fleming was beautiful and a joy to listen to, but I didn't see a whole lot of acting. She was very funny backstage, when Placido Domingo asked about motivations, and if the protagonists really loved each other. Thomas Hampson answered yes, but she picked at his Rasta braids and said that she didn't really like the hair, and that "they would have to talk". It looked like that they were fond of each other offstage.

This would be one worth buying if offered in HD.

[R Johnson]

Thaïs was an enjoyable show a couple of years ago here in Chicago at Lyric Opera. I passed on the Met's "live" presentation though I might go to the encore on January 7 -- except that I'm not impressed with the AV quality at the theaters nearby.

The Met's "Doctor Atomic" will be shown on many PBS stations starting on December 29. As they say, "Check Your Local Listings." It will be shown in Chicago on January 4.

[R Johnson]

A group of us were thinking about seeing the Thaïs encore on January 7. As there are some conflicts with that date, we might take a chance and hope for a PBS HD broadcast or a Blu-ray. When checking my PBS station for Doctor Atomic, I found that Salome has now been scheduled by WTTW in Chicago for January 18. Encouraging news!