Have you always been curious about opera, but a little wary of the experience? I recently attended a dress rehearsal at the Metropolitan Opera. Most members of the audience were long time donors to the Met, but as always, the Dress Circle was filled with students, and they were not shy about expressing themselves. They cheered loudly when the chandeliers went up (always a thrilling sight), applauded members of the orchestra as they took their seats, and loudly cheered the wonderful singers, even though we had been admonished not to applaud and make noise because it was a working dress rehearsal. Their excitement at being there emphasized to me that we were sharing a unique experience: Opera is everything theatrical all rolled into one. Great music, goes without saying, drama, oh yes! Spectacular scenery and costumes, often lots of beautiful dance, and even occasionally some animals. (I remember a performance of Aida in Rome with dogs, horses and camels).
In some circles, opera still has the reputation of being for high society, because these are the people who are photographed on opening night. But opera has always attracted passionate devotees who will line up for hours to get standing room, and, I can tell you, as one who has done it many times, it’s not the most comfortable way to hear opera. Although many people still dress up, doing so is not necessary, and you will see every degree of formality and informality you can imagine. There is still a segment of the audience, called the Opera Club, who have their own boxes and even their own dining room, and they always wear black tie. But you can feel comfortable wearing almost anything.
Opera these days is becoming more and more accessible. You can watch opera in Times Square (above) or in high definition at the movies, a very intimate experience. Both the Met and New York City Opera make less expensive seats available, and the Met has rush tickets on sale before many performances. When you have chosen what opera to hear (and I’ll make some suggestions later) you might check out both companies’ websites for more information. A wonderful website is maintained by Opera News, and if you click on the FAQ tab you will find answers to a many of your questions.
There are also books available that summarize the with story of each opera. The best-known is Kobbe’s New Opera Book, a hefty tome and not inexpensive, but usually stocked in the library. Of course you can buy recorded operas on CDs to familiarize yourself with the music. Even if you don’t read up ahead of time, you can easily follow the story by watching the titles on the back of the seat in front of yours at the Met, and projected above the stage at City Opera. These titles are wonderful! I have found nuances and subtleties in operas I have been attending since I was six…they are enlightening!
Don’t be put off by seats in the higher reaches of the house. Of course you see better down lower, but the sound is so much better in the upper part (remember sounds travels up) that I wouldn’t hesitate. Just bring your opera glasses or binoculars and enjoy.
If you are really making an evening of it and want to dine beforehand, you can’t do better than the Met’s lovely Grand Tier Restaurant (above). It is pricey, but worth it, and the staff will get you out on time. You can even have dessert and coffee at the first intermission. There is also a bar with sandwiches available, and the neighborhood is full of less expensive places to eat. A new favorite of mine is in the lobby of Alice Tully Hall, just across 65th Street from the Met, where you can get a light meal either cafeteria style or served at table.
Now we come to the big question: which opera to choose? I suggest starting with the four or five most popular ones, because you will most likely find that you already have heard some of the arias, and they are popular for a good reason.
La Boheme (above), the story of young love in Paris, was the inspiration for the Broadway hit Rent, and it’s an always poignant tale. Aida (top photo) is another top favorite: two women fighting over the same guy, one of them the princess and the other the slave? Can’t beat that for a plot, and remember I told you about the animals? It all takes place in ancient Egypt, and has a cast of what looks like thousands.
Carmen (above) is a fascinating story of a strong, sexy woman, who wants the guy until she’s got him, and then pushes him aside for a better guy……dangerous! If you are in the mood for something light hearted, the new Met production of The Barber of Seville, directed by Bartlett Sher of Broadway fame, is a delightful romp. And if you are looking for a good way to celebrate New Year’s Eve, the Met often does Die Fledermaus, with a party scene in which “guest stars” often appear. One year it was our then mayor, Rudy Giuliani, a well known opera buff.
So there you are, go ahead and jump in. There’s so much going on this season, and in future stories I hope to tell you about some of the new productions, both at the Met and at New York City Opera. Just get started.
For more information, go to:
metopera.org
nycopera.com
operanews.com
As the daughter of the world renowned Met baritone, John Brownlee, Del Brownlee Bashkow grew up immersed in opera. Her own career took her to the Broadway stage, in such shows as The Unsinkable Molly Brown, Carnival, and Man of La Mancha. Del is now busy passing on her love of music to aspiring young performers.
