“Why go to the cinema? Come to the opera.” “Let’s go on with the cinema, but I have to make now a proposition to Peter Gelb and the Metropolitan Opera,” Gerard Mortier, the Belgian impresario, said in a speech last June at a conference of opera managers in Denver that stands as the skeptics’ cri de coeur. Some worry that vocal training will change, de-emphasizing the ability to project, and that the Met’s effort is a deal with the Devil, because it will divert audiences from local opera houses to make the easier, cheaper trip to the mall. The dissenters say that the movement will lead to more conservative programming that the voice will become subservient to appearance that listeners will be trained to hear something electronic and lose an appreciation for a live experience. Yet despite the general acclaim for the Met’s innovation, introduced and championed by its general manager, Peter Gelb, a few voices have raised concerns about long-term effects on the art form.
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