Peter Gelb is in Salzburg and dropping big hints about the Met’s future, which include importing Stefan Herheim’s new production of Meistersinger, an unnamed production by Calixto Bieito, and producing Thomas Adès’s The Exterminating Angel, he tells Gert Korentschnig in the Vienna paper Kurier. (Something may have been lost in translation here, since he says that Bieito will direct at the Met again, which is impossible since he hasn’t yet.) While all of this rates highly on the awesome-o-meter, he also says that Robert Lepage will be back again (urg).
Why didn’t he give this interview to the Times‘s Anthony Tommasini, who is also in Salzburg; or the New Yorker‘s Alex Ross, who is as well? This is quite rude to loyal Met audience members who care about these things. Some of them will be hostile to this development, but many would welcome it, and it seems bad form to talk about it behind New York’s back.
(While Tommasini did mention the Herheim Meistersinger news, I believe the rest is new. Of course it’s possible Gelb told Tommasini and the Times just didn’t run it. And Alex Ross pointed out to me that he generally doesn’t cover this kind of news. Which reminds us how few options there are for music coverage in New York, alas.)
Thanks to Intermezzo for picking this up. Also, take it all with a grain of salt. Some previous rumored adventures in Met Regie have fallen through.
If you aren’t in Salzburg–as I, sadly, am still not–there’s still plenty to watch on the internet:
- Said Herheim Meistersinger. Highly recommended. Let’s hope the Met brings Michael Volle to sing in it too (and not Anna Gabler).
- Patrice Chéreau’s Elektra from Aix with Waltraud Meier (EU only, I think–doesn’t work for me). This one is also supposedly headed to the Met.
- The Haneke Così that I already mentioned, which is unmissable.
- Everything from Glyndebourne
- Also from Salzburg, Falstaff as set in a retirement home. (This one is supposedly watchable but is also giving me an error message currently. YMMV.)