Hi everyone! I’m purchasing tickets to see Maria Stuarda at the Met in December. Anyone have seating recommendations in general/for this production specifically?
I watched it on Met on Demand and the set is gorgeous, so I would love to find sections where you can see somewhat clearly with decent sound.
I’m also kind of short so I don’t know whether orchestra seats would be good…
Thank you in advance!
Hey everyone! I was wondering if anyone has experience verifying their student status for the Met’s student tickets? My school doesn’t give out student IDs, but it looks like the only way to verify is by uploading one. Has anyone tried using something else (maybe a transcript?) to register as a student?
Thank you in advance!
Hi everyone! I was wondering if anyone has experience verifying their student status for businesses like Target. I’ve been trying to do that, but they require a photo of a student ID, which we don’t have unless it’s our OneCard. I was already denied once by Target Circle’s student discount because they didn’t accept screenshots of my OneCard or ConnectCarolina. Does anyone know what other options may work?
Thank you in advance!
Kind of piggybacking off of some of the great questions people have asked over the past few days. I was wondering if anyone knows how people cast singers, conductors, and orchestras for commercial recordings of complete operas.
Who gets to decide that a recording is going to be made? Is it the individual singer, conductor, or some sort of “casting director” in the recording world?
How much do the singers get to pick who they want to sing with? (Do singers singing the title role or the protagonist get more authority in that?) Do conductors get to pick as well?
How do they decide which singer gets to “put the name on the recording”? With operas like Traviata it’s probably pretty simple to say that the recording is the Violetta singer’s recording (in name, not necessarily in terms of copyright and stuff). But what about operas like Bohème or Le Nozze, where there are many main characters?
I really enjoyed reading everyone’s responses to previous posts, so thank you in advance!!
Hi everyone!
Like what the title says, I’m curious to know everyone’s opinion on how opera as an art form can attract more audiences, especially as mediums like social media, streaming, and podcasts (and obviously a lot of other platforms) become widely used by people of all ages and demographics.
Just a disclaimer, I’m not interested in debating whether or not opera is a “dying” art form. I know we had enough discussions about that recently. My question is more concerned with how opera can/should maintain its presence within the contemporary cultural fabric. I’m particularly interested in this because as I explore opera, I’ve come to realize that music, regardless of genre, needs an audience, and music’s influence rests on how many *new* audiences it can attract, rather than the size of its existing audience. Unfortunately, with modern day technology, everything competes against one another for attention, and classical musicians are a part of this in that artists must communicate their art’s significance (the “why should you care about this”) in order to continue to create the art they are passionate about.
Opera is very unique in that its theatrical elements lead to a greater potential for “stars” to emerge. What are your opinions on attracting new audiences through individual singers? What is a singer’s role in building this community around their identity and art? How can companies find a balance between star power and traditional talent/musical success?
Beyond individual singers, the companies also play a significant role in maintaining opera’s cultural presence. How do you think companies should do this? (Anything from online presence to production ideas and designs)