{"id":562,"date":"2014-09-21T21:37:02","date_gmt":"2014-09-22T01:37:02","guid":{"rendered":"http:\/\/www.artsjournal.com\/uq\/?p=562"},"modified":"2014-09-21T21:37:02","modified_gmt":"2014-09-22T01:37:02","slug":"on-the-future-of-the-metropolitan-opera-continued","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2014\/09\/on-the-future-of-the-metropolitan-opera-continued.html","title":{"rendered":"On the Future of the Metropolitan Opera (continued)"},"content":{"rendered":"<p><a href=\"http:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2014\/08\/Metropolitan_Opera_House_At_Lincoln_Center_2.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2014\/08\/Metropolitan_Opera_House_At_Lincoln_Center_2-300x225.jpg\" alt=\"Metropolitan_Opera_House_At_Lincoln_Center_2\" width=\"300\" height=\"225\" class=\"aligncenter size-medium wp-image-559\" srcset=\"https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2014\/08\/Metropolitan_Opera_House_At_Lincoln_Center_2-300x225.jpg 300w, https:\/\/www.artsjournal.com\/uq\/wp\/wp-content\/uploads\/2014\/08\/Metropolitan_Opera_House_At_Lincoln_Center_2.jpg 800w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><br \/>\nReviewing a new history of the Metropolitan Opera in yesterday\u2019s <em>Wall Street Journal<\/em>, I write: \u201cThe Met has never enjoyed the services of a shrewd and practical visionary. There is no one in the company&#8217;s annals to set beside Henry Higginson, who created the Boston Symphony in 1881; or Oscar Hammerstein, whose Manhattan Opera combined integrated musical theater, new repertoire and stellar artists before being bought out by the Met in 1910; or George Balanchine and Lincoln Kirstein, who invented the New York City Ballet in 1948; or Harvey Lichtenstein, who reinvented the Brooklyn Academy of Music in the 1980s.\u201d<\/p>\n<p>To read the review, google: wall street journal affron metropolitan opera book review<\/p>\n<p>Also, if you were not able to access my recent <em>Wall Street Journal<\/em> Op-Ed on the Met, in which I opined that the 4,000-seat Metropolitan Opera House is \u201calready a relic,\u201d  google: wall street journal joseph horowitz metropolitan opera union trouble<\/p>\n<p>Common to both pieces is the notion that \u201cgrand opera\u201d as a defining variant of the operatic experience is increasingly a thing of the past. Like the \u201cculture of performance\u201d and the \u201cperformance specialist,\u201d it will ultimately be viewed as a twentieth century anomaly. Opera in America will increasingly transpire in smaller spaces, prioritizing an intimate theatrical experience. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviewing a new history of the Metropolitan Opera in yesterday\u2019s Wall Street Journal, I write: \u201cThe Met has never enjoyed the services of a shrewd and practical visionary. There is no one in the company&#8217;s annals to set beside Henry Higginson, who created the Boston Symphony in 1881; or Oscar Hammerstein, whose Manhattan Opera combined [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":{"0":"post-562","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p2QLHN-94","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/562","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/comments?post=562"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/562\/revisions"}],"predecessor-version":[{"id":567,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/posts\/562\/revisions\/567"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/media?parent=562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/categories?post=562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/uq\/wp-json\/wp\/v2\/tags?post=562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}