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      America Needs Its Own Comic Opera Company

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      There is no house in the United States dedicated to presenting works from a prominent corner of homegrown music theater repertory.Whenever I’m trying to sell a friend on a night at the opera, my memory calls up a scene from “Twin Peaks.”The local doctor, Will Hayward, sits down to dinner, clearly haggard, thanks to his work mopping up local catastrophes. Then someone asks him how it’s going.“I feel like I’ve sat through back-to-back operas,” he says with a sigh. Everyone at the table smirks. In this view, even one opera might prove a test of endurance. It’s a somewhat surprising joke at the music world’s expense, given that “Twin Peaks” often found pleasure in an eclectic array of sound worlds (spurred on by the inventive, varied work of the show’s composer, Angelo Badalamenti, who died this month at 85).But the gag also makes perfect sense. While “Twin Peaks” had art house trappings, it straddled the line between rarefied and popular: a feat that American opera hasn’t bothered with much since it stopped regularly letting its hair down on television in the 1950s.Long before grand Metropolitan Opera productions represented the first, last and final word about opera onscreen, thanks to its public-television broadcasts, audiences could find their way to sprightly, comedic musical spectacles. After a successful Broadway run in the 1940s, Kurt Weill’s “Lady in the Dark,” with a book by Moss Hart and lyrics by Ira Gershwin, was performed live on NBC in 1954. This night at the theater at home featured a plot driven by psychoanalysis and songs that unfurled within dreams. (“Twin Peaks,” eat your heart out.)It was a critical hit again, just as it had been live. Weill’s “One Touch of Venus,” with text by Ogden Nash and S.J. Perelman, followed on NBC in 1955. Around that time, audiences could also catch Oscar Straus’s “The Chocolate Soldier” and Victor Herbert’s “Naughty Marietta” on TV. Shows that would otherwise be found on the stages of comic opera houses — theaters that specialize in the genre of theatrical works with spoken dialogue and often humorous plots — were readily available in living rooms across America.Thankfully, all those telecasts have been preserved on DVD by the VAI imprint. And although the orchestrations in use weren’t those of the composers, at least the tunes are all there — which is more than you can say for the Hollywood adaptations of the same works. But why do we hardly see this kind of material today, on television or in theaters?Composers didn’t lose all purchase on humor around 1960. But since then, Broadway has become a less reliable steward of these kinds of scores. Pit orchestras have been reduced in size; amplification of voices has become more common. Sondheim’s catalog, with its complexity and wit, is the exception to these trends (and even his shows aren’t in consistent enough circulation today).Despite that reduced range of performance, American classical artists still demonstrate comic bents just waiting for an outlet. One example: Anthony Davis, a Pulitzer Prize winner, writes serious-minded grand stage works like “The Central Park Five” and “X: The Life and Times of Malcolm X,” which is headed to the Metropolitan Opera in 2023. But he also writes comic operas, and they have languished.Davis’s 1992 opera on the Patty Hearst saga, “Tania,” contains a satirical jewel titled “If I Were a Black Man,” with words by Michael John LaChiusa. It is sung by a white Symbionese Liberation Army terrorist, and lampoons the liberal fascination with what Tom Wolfe called radical chic. Anyone weary of cringe-y, performative displays of bien-pensant thinking might crack a smile — or let loose a belly laugh. (Davis, too, chuckled while singing a line to himself when I spoke with him this year.)But you really have to go searching for “Tania,” or this song. Rare is the algorithm that would promote it; and the CD version, from the Koch label, is catch as catch can on the secondhand marketplace.Davis’s fellow Pulitzer awardee William Bolcom is in similar straits. His verismo operatic adaptation of Arthur Miller’s “A View from the Bridge,” from 1999, was prominently documented on a New World Records album from Chicago’s Lyric Opera. Yet Bolcom’s comedic efforts, like the 1990 “Casino Paradise” — with its Trump-like land developer protagonist — aren’t as widely known.Some elements of “Paradise” are dated, but the verve of “A Great Man’s Child,” the show’s failson anthem, with a lyric by Arnold Weinstein, still plays well alongside contemporary talk about “nepotism babies.” Bolcom’s accolades have tended to be for concert works like his “Twelve New Etudes for Piano.” When I interviewed him this year, however, he made his underlying affections clear, saying, “Since the beginning, I’ve had love for the theater.”This strain of American cultural life clearly exists. But how could it be better represented? The answer is simple: It’s time for this country to create a comic opera company of its own.The comic opera tradition — which traditionally has included not only spoken dialogue, but also smaller voices relative to grander works in the repertory — has since cross-pollinated with neighboring forms like the musical. The Komische Oper in Berlin or the Opéra Comique in Paris might play “Kiss Me, Kate” one night, and an experimental opera with spoken bits — or comedic angles — the next.Critics trip over one another for assignments to these houses. (One of the performance highlights of my year was a new production, at the Komische Oper, of Jaromir Weinberger’s riotous “Schwanda the Bagpiper,” whose orchestral music delighted American audiences in the mid-20th century.) But New York has no such organization. And aside from small, specialized troupes — a local Gilbert & Sullivan society, or Ohio Light Opera — the United States doesn’t really have any comic opera companies.The American Musical Theater Festival in Philadelphia commissioned and premiered both “Tania” and “Casino Paradise” but was shuttered in 2014. You might occasionally find a great chorus like MasterVoices in New York partnering with an estimable local ensemble like the Orchestra of St. Luke’s to stage the original, comic opera version of Bizet’s “Carmen” — but generally for one night only. That same creative team brought “Lady in the Dark” back for a triumphant one-weekend run in 2019. (The short run was billed as a celebration of a previous New York revival, during the first season of Encores!, in 1994.)Together, MasterVoices and St. Luke’s could form the backbone of America’s first true comic opera company. What else would they play and sing? Perhaps those comedies from Davis and Bolcom, and more of Weill’s works. But also, surely, shows by Sondheim — and perhaps other musicals that wouldn’t be appropriate for commercial runs on Broadway today.That catalog could include, for example, the vaudeville music of the composer and lyricist team Eubie Blake and Noble Sissle, whose 1921 show “Shuffle Along” was a landmark of Black Broadway. The show employed William Grant Still, who was eventually called “the dean of African American composers,” as an oboist in the pit. (Still was said to have improvised a motif in performances that George Gershwin supposedly heard and later used for “I Got Rhythm.”)The book of “Shuffle Along” is weighed down by racial stereotypes of the period — yet Blake and Sissle’s music deserves a new outing. In 2016, Broadway tried a story-behind-the-show approach, though it shuttered prematurely after its star, Audra McDonald, had to withdraw because of a pregnancy. A new adaptation of “Shuffle” would be fitting for an American opera company, and more viable outside the profit-driven confines of Broadway.Contemporary composers who would be a good fit for a comic opera company include Joseph White, whose outlandish “The Wagging Craze” — a self-described “radio opera” from late 2021 — dramatizes a ribald (and, of course, fictional) male-bonding fraternity that attracts Lyndon B. Johnson, Richard Nixon and Henry Kissinger. (J. Edgar Hoover, for his part, is appalled.)There’s also Kate Soper — the dramatist, soprano and librettist behind out-of-the-box theater pieces like “Here Be Sirens.” We would all benefit from her having the space, and budget, to produce new works. (Her long-delayed opera “The Romance of the Rose,” originally intended for spring 2020, will at last make its debut at Long Beach Opera in February.) Or maybe Soper could just pop into the theater to perform a black box-style show based on her most recent album, “The Understanding of All Things,” in which she winningly dissects a male suitor’s negging in the Yeats poem “For Anne Gregory.”It’s not likely that we’ll see a contemporary version of mid-20th century opera telecasts. Those old Weill productions would be too ambitious; Soper’s conceits, too experimental.A proper stage for these and other works wouldn’t merely help to reclaim comic opera’s past and present; it could also set priorities for the future. After all, what incentive is there for budding artists to write in the vein of Davis and Bolcom if their own works can’t be heard? It’s time to give our comic spirits the opportunity to punch up the script of American opera. More

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      Vienna Philharmonic to Honor Players Lost in World War II

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      In the new year, the Vienna Philharmonic will pay tribute to more than a dozen of its members who were ousted, exiled and killed during World War II.VIENNA — When armed forces stormed the State Opera here during a performance of Tchaikovsky’s “Eugene Onegin” on March 11, 1938, prominent players from the Vienna Philharmonic fled through the back door and would never regain their positions.The solo bassoonist Hugo Burghauser was removed from his post as chairman and replaced with Wilhelm Jerger, a member of the Nazi Party. By the next week, all other orchestra members affected by the anti-Jewish Nuremberg Laws had been expelled.More than 80 years later, after the Vienna Philharmonic’s 180th anniversary and before its next New Year’s Concert, the orchestra’s current chairman, Daniel Froschauer, has decided to commemorate the players who were victimized during World War II.In 2023, Stolpersteine, or “stumbling stones” for the 16 lost members will be laid in the sidewalk in front of their former homes in the Austrian capital. An additional stone will be laid for Alma Rosé, daughter of the veteran concert master Arnold Rosé. The tradition of creating these small plaques to memorialize victims of the Holocaust began in Germany in 1992. The Philharmonic stones include the name of each player, their position with the orchestra, and when and where they died.On March 28, a chamber music concert will take place in front of the onetime building of the Rosés. Also planned is a concert with the orchestra’s academy at the Theresienstadt ghetto in May.In a recent interview, Mr. Froschauer recalled arriving on New York’s Upper West Side as a student in 1982, violin case in hand, and being greeted enthusiastically by local residents of Austrian Jewish descent. Among the people he contacted at his father’s behest was Burghauser, who died three months after they spoke by phone.Hugo Burghauser, a solo bassoonist, in an undated photo. In 1938, he was forced out as chairman of the Vienna Philharmonic. He emigrated to North America.Wiener PhilharmonikerThe brass plaque to be attached to Burghauser’s “stumbling stone.” Details on it include his roles with the orchestra and the date of his death in New York.Wiener PhilharmonikerMr. Froschauer pointed out that while Burghauser was fortunate to find work through the support of the conductor Arturo Toscanini — playing in the Toronto Symphony before joining the NBC Symphony Orchestra and then the ensemble of the Metropolitan Opera — others were left to struggle. Seven members were murdered or died during the war.“There was something inside me that hadn’t yet been worked out,” Mr. Froschauer said of the effort to pay tribute to the lost musicians. “This project should a create a consciousness for what these people had to endure.”Postwar Vienna was slow to face wartime atrocities. According to Fritz Trümpi, author of “The Political Orchestra: The Vienna and Berlin Philharmonics During the Third Reich,” the remaining Vienna players seemed more interested in symbolic gestures. With former party members as the majority of the executive committee into the 1960s, the orchestra’s attitude was marked by a kind of indifference, he explains in his book, and attempts to ward off responsibility.“When the question of financial compensation comes up — pensions, extra pay — the orchestra members dismiss them with at times crude arguments,” Mr. Trümpi said in an interview. “It is all the more bitter in a situation when someone is sick but told, ‘You will receive nothing, you are not here anymore.’”The Philharmonic granted modest financial support mostly because of “image concerns,” he concluded in the book “Orchestrated Expulsion,” written with Bernadette Mayrhofer. Among the beneficiaries was the violinist Berthold Salander, who arrived in New York a ruined man and never resumed his orchestra activities.In Berlin last year, a resident polished “stumbling stones” that commemorated four members of a family who died at Auschwitz. The tradition of installing the stones began in Germany in 1992. Markus Schreiber/Associated PressThe violinist Ludwig Wittels had to leave his position with the orchestra of the Metropolitan Opera because he had lung cancer. According to “Orchestrated Expulsion,” requests for financial aid from Vienna led to an exchange in which the orchestra’s chairman and executive director accused him and his wife of “blackmail.” They ultimately granted a sum that was a tiny fraction of the funds allocated for a U.S. tour in 1956. Wittels died in December of that year.In 1952, seven exiled members of the orchestra were presented with silver medals celebrating its centenary at the Austrian Consulate in New York — an event originally planned for 1948. “Overdue,” read the headline in The New York Times on Dec. 21.Efforts to reconcile the orchestra with its ousted members met with resistance on both sides. The violinist Dr. Daniel Falk, who lost several close family members to the Holocaust, replied to an invitation to rejoin the Philharmonic in 1946 that a return would “raise questions” that neither he nor his “adored colleagues” were “in the position to solve.”The Argentine-born Ricardo Odnoposoff became an exception, returning to Vienna as a professor in 1956 and appearing as a soloist with the Philharmonic where he once served as concert master. The violinist Leopold Förderl and his wife, Eva, who was Jewish, also returned to their home city, in 1953.Leopold Föderl returned to Vienna in 1953.Wiener PhilharmonikerRicardo Odnoposoff also returned to Vienna, in 1956, and played again with the Philharmonic.Wiener PhilharmonikerMichael Haas, senior researcher at the Exilarte Center for Banned Music at Vienna’s University of Music and Performing Arts, said that postwar Austria in general was reluctant to welcome back former citizens who had the right to reparations because it “would have bankrupted the country.” In turn, he continued, the fact that Austria emerged from the war “relatively unscathed” may have led to resentment among Jewish families.He said that in the past decade, however, the Philharmonic had undertaken a “much more honest and sober appraisal” of its history: “I would probably say that we’ve seen the orchestra begin to confront its own past and deal with some of its issues.”Mr. Trümpi noted that there was still “a need for discussion,” and not only with regard to the history of the Philharmonic. Ms. Mayrhofer, his co-author on “Orchestrated Expulsion,” has estimated that about 100 workers at the State Opera — from stagehands to choristers — were ousted, exiled or murdered after the events of 1938.Ms. Mayrhofer has also found that Jerger, who took over as chairman in 1938, tried to save five members of the Philharmonic from deportation in 1941, but that his efforts were too late: All of them died in the Holocaust. He did manage, however, to facilitate the release of the violinist Josef Geringer from the Dachau concentration camp in December 1938 (he emigrated to New York, passing away in 1979).The Philharmonic recently acquired the correspondence of the former concert master Franz Mairecker, who remained in touch with the cellist Friedrich Buxbaum after he emigrated to London (they were close friends and chamber music partners). And Clemens Hellsberger, chairman of the Philharmonic from 1997 to 2014, is updating his 1992 book “Democracy of the Kings,” a history of the orchestra that reckons with World War II and its aftermath.Mr. Haas said reinstating repertoire by Jewish composers that was performed before the war would represent a further step in repairing cultural damage. He noted that Meyerbeer’s “Robert le diable” (performed in German as “Robert der Teufel”) was one of the most popular works at the Vienna State Opera in the second half of the 19th century. He also mentioned Karl Goldmark’s “Könign von Saba” (Queen of Sheba), which premiered there in 1875 and remained in repertoire until December 1937.The operetta composer Jacques Offenbach, who visited Vienna frequently and inspired Johann Strauss to write “Die Fledermaus,” was also well received before World War II. Operettas in Viennese dialect, such as the works of Edmund Eysler, also thrived.With the annexation of Austria by Nazi Germany in 1938, local traditions were altered to fit antisemitic propaganda. For example, the National Socialists modified baptismal documents to conceal the fact that Strauss had a Jewish great-grandfather, while Mr. Trümpi’s research has revealed that more than 40 percent of the Vienna Philharmonic’s programming from 1940 to 1945 consisted of works by the Strauss dynasty.The New Year’s Concert on Jan. 1, 2022, conducted by Daniel Barenboim. The concert’s origins stem from World War II.Wiener PhilharmonikerOn Dec. 31, 1939, a concert with the Vienna Philharmonic performing Strauss works served to support the War Winter Relief Program. After World War II, the tradition continued as a vehicle of hope and joy on the first day of every year.This year’s New Year’s Concert includes works by Carl Michael Ziehrer and Franz von Suppé — and Josef Hellmesberger Jr., who in addition to playing and teaching violin served as the Philharmonic chairman and composed ballets.Among Hellmesberger’s students was Fritz Kreisler, a prodigy who began his conservatory studies at age 7 and emigrated to New York in 1938. He had performed as a soloist with both the Vienna and Berlin Philharmonic Orchestras, premiering Elgar’s Violin Concerto in 1910 (an exhibit is currently on view at the Exilarte Center for Banned Music).Mr. Haas said that “it is only slowly beginning to seep in” to what extent Austrian Jewish musicians contributed to Viennese cultural life. Although there were also prominent doctors, scientists and writers, he explained, “music was greater than any other discipline.”For Mr. Froschauer, laying down the “stumbling stones” for the lost members of his orchestra is a moving opportunity to create awareness about the challenges these individuals faced while the rest of the ensemble was able to carry on with a degree of normalcy.“One should simply never forget,” he said. “This is a very late apology and a sign of gratitude for their accomplishments.” More

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      At the Vienna State Opera, the Curtain Is an Art Exhibition

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      The “Safety Curtain” series at the Vienna State Opera has put artwork from all over the world in front of audiences since 1998.The Vienna State Opera is not exactly a go-to place for cutting-edge contemporary art: Inaugurated a century and a half ago, it is housed in an ornate edifice with gilded and velvet interiors.Yet every year since 1998, a contemporary artist has been commissioned to deliver a design for the safety curtain that about 600,000 operagoers gaze at before performances and during intervals all season long — for eight or nine months. More than two dozen artists have designed 176-square-meter (nearly 1,900-square-foot) images for the opera house and produced safety curtains that are nothing like what operagoers see elsewhere.Kara Walker, who was the inaugural artist in 1998, delivered a curtain featuring her signature silhouettes of African American figures. Jeff Koons adorned one with toy monkeys and cartoon characters.And Cerith Wyn Evans treated the public to a brief text (in German) that invited operagoers to “imagine a situation that, in all likelihood, you’ve never been in.”The text began: “Permit yourself to drift from what you are reading at this very moment into another situation, another way of acting within the historical and psychic geographies in which the event of your own reading is here and now taking place.”The Vienna State Opera in January.Maxym Marusenko/NurPhoto, via Getty ImagesThis season, the Chinese-born multimedia artist Cao Fei is showing a female avatar — a dystopian, pale-white head so imposing that signs have been put up all over the opera house to alert spectators to its presence.The “Safety Curtain” series was started by Museum in Progress, a nonprofit established in 1990 by an Austrian couple: the curator Kathrin Messner and the artist and curator Josef Ortner. Their mission was to showcase contemporary art in unexpected places to audiences that might otherwise not engage with it. In more than three decades, Museum in Progress has displayed contemporary art in the pages of newspapers and magazines, on television, on billboards and building facades, and in concert and performance halls.“The core idea of Museum in Progress is really simple: It’s about developing new presentation formats for contemporary art,” said Kaspar Mühlemann Hartl, managing director of the organization.He said it was necessary to present the public with “really high-class art,” adding that although Austrian museums and cultural institutions do put on exhibitions regularly, they are aimed at attracting crowds. “We feel it’s really important not to popularize, not to choose artists whom everybody would like,” he said.The contemporary safety curtains are not just ornamental: They are placed over a curtain with a dark past. That curtain was designed by Rudolf Hermann Eisenmenger, a Vienna-educated artist who went on to become hugely successful in wartime. He joined the Nazi Party in 1933; produced murals for Vienna City Hall showing young Nazi supporters in brown shirts waving swastika flags; and was awarded the title of professor by Hitler himself.The artist Rudolf Hermann Eisenmenger in 1955.Votava/Brandstaetter via Getty ImagesEisenmenger’s career continued after World War II. When the Vienna State Opera — which had been heavily damaged by bombings — reopened in 1955 after a major redevelopment, Eisenmenger was selected to design its safety curtain. And that curtain, with a depiction of Orpheus and Eurydice, was never questioned until the mid-’90s, when the opera house’s director at the time suggested that it should be taken down because of Eisenmenger’s Nazi past — and met with strong opposition in public opinion and the media. In 1997, Museum in Progress stepped in to propose the “Safety Curtain” project.Despite its troubled history, the original safety curtain, which can still be seen outside of the opera season, seems to remain popular with some Austrians. Every time the Vienna State Opera gets a new director, he receives “lots and lots of letters trying to convince him” to stop the contemporary-art project, Mr. Mühlemann Hartl said. In 2010, a far-right politician even raised the question in Parliament, he added.The contemporary “Safety Curtain” project has nonetheless managed to continue for 24 years, as it is well liked overall, and every year’s design gets abundant news coverage in Austria.Artists are chosen by a jury of curators, currently composed of Daniel Birnbaum, artistic director of Acute Art (a London-based digital art platform); Bice Curiger, artistic director of the Fondation Vincent van Gogh in Arles, France; and Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London.The process of choosing the winning artist is “incredibly fast,” Ms. Curiger said in an interview. Judges draw up a long list and rank each artist based on whether they can “come up with a good idea” that will work for an opera house and speaks to 21st-century audiences.“We want to be contemporary,” she said. “We don’t want to just have nice decorative things.”Ms. Curiger noted that the jury felt “a responsibility,” because the Vienna State Opera’s staff and audience “have to live with a work, which is really big, for a whole year.”Hans Ulrich Obrist, a member of the jury that chooses the artist for each new safety curtain, speaking in front of Carrie Mae Weems’ design for the 2020-21 edition, which featured an image of Mary J. Blige.Andreas Scheiblecker/Museum in ProgressFor the 2020-21 season, the chosen talent was the American artist Carrie Mae Weems. She presented a large photographic image of the singer Mary J. Blige — a version of which had appeared in W Magazine — that showed her wearing a crown and sitting at a table covered with flowers, fruit, glassware and an elaborate tablecloth that were reminiscent of an old-master painting.“Mary is a very careful woman, concerned about how Black women are experienced and understood, and what they look like,” Ms. Weems said of the image in a video interview in 2020 with Mr. Obrist. “So it was perfect.”The project costs 80,000 euros (about $85,000) a year to fund, according to Mr. Mühlemann Hartl, a modest amount by the standards of Western cultural fund-raising. Yet he said Museum in Progress still had difficulty raising the money every year, because in Austria, individual and corporate cultural philanthropy were not very developed.In a recent interview, Mr. Obrist described the project as “an interesting oxymoron,” because in a house where most of the music played is not from the 21st or even from the 20th century, the artists are “bringing something extremely contemporary in relationship to a work from the past.”He said he would love to see the initiative spread to other opera houses around the world, as was the intention of the couple who conceived it.“It’s almost like a model that they created,” he said. More

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      A Cyberattack Shuts the Met Opera’s Box Office, but the Show Goes On

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      After hackers knocked out the ticket-selling system of the Met, the largest performing arts organization in the United States, the company decided to sell $50 general admission seats.It had been a full week since a brazen cyberattack had hobbled the Metropolitan Opera, taking its website offline and paralyzing its box office, and hundreds of opera lovers were waiting patiently in line Tuesday evening, fluctuating between anxiety and anticipation.The curtain was set to rise on the Met’s grandiose old-school production of Verdi’s “Aida” in 45 minutes, and 300 audience members had managed to score the sold-out $50 general admission tickets that the cyberattack had forced the company to offer as a workaround until its computer systems are fully restored.Some had feared a “running of the bulls” situation, with opera lovers jockeying for prime seats that ordinarily cost as much as $350 apiece. But the human choreography amid the technological mayhem was fairly seamless. The general-admission hordes, who had bought their tickets on a hastily assembled page on Lincoln Center’s website, were directed to side corridors of the Met’s 3,800-seat auditorium. There, ushers handed them improvised tickets, their seat numbers handwritten in black magic marker, distributed on a first-come-first-served basis.“It’s frightening that a cyberattack can happen at a place like the Met,” said Mike Figliulo, 42, a technology director on Broadway, as he marched triumphantly to his $50 seat in row M of the orchestra.The attack on the Met, the largest performing arts organization in the United States, knocked out a ticketing system that typically handles about $200,000 in sales each day at this time of year, and took down the company’s payroll system, forcing it to cut checks by hand for some of its 3,000 full- and part-time employees. It was the latest major disruption for a company struggling to lure audiences back to prepandemic levels, and it hit just as the lucrative holiday season was getting underway.“With this attack, it feels like we have entered the ninth circle of hell,” Peter Gelb, the Met’s general manager, said Tuesday during a pause in a rehearsal for an upcoming English-language holiday production of “The Magic Flute” that is popular with families. “It adds strain on a company that has suffered innumerable strains and challenges since the pandemic from which we are still recovering.”The Met’s outspoken support for Ukraine — it presented “A Concert for Ukraine” last season; helped arrange a tour by the newly formed Ukrainian Freedom Orchestra; and parted ways with one of its reigning prima donnas, the Russian soprano Anna Netrebko, after she declined to distance herself from President Vladimir V. Putin of Russia — led to speculation that Russia could be behind the cyberattack.Gelb tamped down that theory, saying that the attack appeared to be the work of an organized criminal gang. He said the Met had informed the F.B.I. of the attack, and that he hoped that the box office would be running as early as Wednesday.“I can understand why there might be conjecture that Russia is behind this, given the Met’s strong condemnation of Putin and defense of Ukraine,” he said. “But we don’t believe Putin is masterminding cyberattacks on opera companies. And if he is, that is a good reason that the Russians are losing the war.”The seating of people with $50 general admission tickets went smoothly. Jeenah Moon for The New York TimesGelb declined to elaborate on who was behind the attack. But cybersecurity experts said that, given how long it was taking the Met to get back online, the attack bore the hallmarks of an increasingly prevalent type of modern-day piracy that has targeted businesses, local governments, hospitals and even hotels. The weapon? A type of software known as ransomware.The crime is as simple as it is effective. In some cases victims receive an email with a link or attachment that contains software that encrypts files on their computer and holds them hostage until they pay a ransom.Ransomware has become a global scourge. A ransomware attack this fall disrupted the government of Suffolk County, on Long Island, forcing it largely offline. Five years ago, one of the largest ransomware attacks in recent memory left thousands of computers at companies in Europe, universities in Asia and hospitals in Britain crippled or shut down — in some cases, paralyzing hospital equipment before patients were poised to go into surgery.Justin Cappos, a cybersecurity expert at New York University’s department of computer science and engineering, said hackers who carry out such attacks frequently operate in Russia and Eastern Europe, and often demand a ransom in Bitcoin, a digital currency that is hard to trace. A Bitcoin payment also can’t be rescinded once it is made.He said that the targeting of cultural institutions like the Met was surprising, given that they typically have limited financial resources. Nevertheless, he said, the attackers might have been motivated by the audacity of targeting such a global and glittering brand.“Every organization needs to care about cybersecurity, even cultural organizations like the Met,” Cappos said. This attack, he added, underscored that “nobody is safe.”The Met — which never missed a curtain last year, even when the Omicron variant shut down wide swaths of Broadway, dance performances and concerts — has managed to proceed with all of its performances through the current cyberattack, staging Verdi’s “Rigoletto” and “Aida” and its new production of Kevin Puts’s “The Hours,” starring Renée Fleming, Kelli O’Hara and Joyce DiDonato, which was simulcast as planned to movie theaters around the world on Saturday as part of the Met’s Live in HD series.With war raging in Europe, record inflation and the continuing effects of the pandemic, cultural institutions across the world, including the Met, have been struggling economically. But Gelb said the Met was resilient.“Our lives have been turned upside down,” he added. “But we’ll get through it.”The operagoers who went to the Met on Tuesday evening were transported back to a grand operatic vision of ancient Egypt, with soaring arias and choruses telling a story of doomed love and divided loyalties. One scene stealer was an unruly pony named Sandy who stomped its hoof and shook its head aggressively during the larger-than-life Triumphal Scene, eliciting nervous laughter from the audience.The audience was able to forget, at least temporarily, that it was at the center of an opera house under siege. More

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      Amid Global Turmoil, Salzburg Festival Plans a Summer of Reflection

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      “Our present reality seems to be completely out of joint with universal bonds and perspectives,” the festival’s artistic director said.With the pandemic still lingering and the war in Ukraine raging on, the Salzburg Festival in Austria announced plans on Friday for a summer season that would seek to offer space for reflection.The festival, classical music’s most storied annual event, will stage two operas based on works by William Shakespeare: “Macbeth” and “Falstaff,” both by Verdi. There are also plans for more offbeat repertoire, including Bohuslav Martinu’s “The Greek Passion,” which tells the story of a Greek village staging a Passion play, in a production led by the conductor Maxime Pascal.“Our present reality seems to be completely out of joint with universal bonds and perspectives,” Markus Hinterhäuser, the festival’s artistic director, said in an interview, quoting from “Hamlet.” “Therefore, we have constructed a festival giving artists the opportunity to address these issues directly and indirectly.”The festival will feature more than 200 events — a mix of operas, spoken drama, orchestra concerts and recitals — over six weeks beginning July 20.The festival’s house band, the Vienna Philharmonic, will perform several concerts, including “Ein Deutsches Requiem” (“A German Requiem”), an hourlong choral work by Brahms, under the conductor Christian Thielemann. Among other prominent orchestras making appearances are the Berlin Philharmonic and the Boston Symphony Orchestra.The mezzo-soprano Cecilia Bartoli will star in Gluck’s “Orfeo ed Euridice”; the conductor John Eliot Gardiner will lead a concert performance of Berlioz’s “Les Troyens,” featuring his ensemble, the Monteverdi Choir; and the soprano Renée Fleming and the pianist Evgeny Kissin team up for a recital of works by Schubert, Liszt, Rachmaninoff and Duparc.Franz Welser-Möst, the music director of the Cleveland Orchestra and a Salzburg regular, will take the baton for “Macbeth,” which opens in July, in a production by Krzysztof Warlikowski. In August, Welser-Möst will lead the Vienna Philharmonic in a concert featuring works by Ligeti and Richard Strauss.The festival will again prominently feature the conductor Teodor Currentzis, who has faced scrutiny since the start of the war in Ukraine because of his ties to a state-owned bank in Russia. He will take the baton for a concert presentation of Henry Purcell’s opera “The Indian Queen” with his new ensemble, Utopia. Currentzis will also lead Utopia in performances of Mozart’s Mass in C minor.Currentzis announced the formation of Utopia, which is backed by European benefactors, in August, after he faced a wave of criticism for his longtime association with the Russian ensemble MusicAeterna, which is sponsored by VTB Bank, a state-owned institution that has been sanctioned by the United States and other countries. (Currentzis had been trying for several years to secure funding for Utopia.)While the pandemic has wreaked havoc across the performing arts, the Salzburg Festival, drawing on government subsidies and sponsorship deals, has managed to minimize the disruption.The festival never canceled a season during the pandemic. In 2020, it staged a robust program for limited audiences, before returning to relative normalcy in 2021.Even as turnout for many classical events around the world has been tepid since the return of live performance, the Salzburg Festival continues to attract an enthusiastic audience. Attendance was 96 percent last summer, the festival said. More

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      An Opera Company’s Precarious Future Has Some Worried About a Ripple Effect

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      For a month now, politicians, newspapers and classical music stars have been arguing over the future of English National Opera. A funding cut could have repercussions far beyond Britain.LONDON — When Leigh Melrose, a rising British opera star, looked at his calendar recently, much of the next three years were blocked out for one company: English National Opera. He was signed up to sing multiple roles there, starting with the lustful dwarf Alberich in the company’s new “Ring” cycle, a coproduction with the Metropolitan Opera that was meant to head to New York.Melrose said that he’d had his wig fitting for that role, and that rehearsals for “The Rheingold,” the first installment in Wagner’s four-part epic, were scheduled to begin Dec. 28.But now, he said, all those plans seemed uncertain. Last month, Arts Council England, a body that distributes government arts funding here, announced it was shutting off a grant to English National Opera worth 12.4 million pounds a year, or about $15 million. The Arts Council instead gave the company a one-off grant to help it develop “a new business model,” including a potential move to Manchester, 178 miles north of its current home at the London Coliseum.On the same day, the Arts Council also slashed funding to other major opera companies including the Royal Opera House, by 10 percent, and Glyndebourne Productions, by over 30 percent.Melrose said those cuts came as a “total shock,” adding that the long-term future of the “Ring” in both London and New York did not look good. If the E.N.O., as English National Opera is known, had to move away from London, “How can it keep on doing the rest?” Melrose asked. “How can it carry on doing anything?”For the past month, the fate of the E.N.O. has made headlines here. Musicians, critics and politicians have been arguing over whether the decision to cut the company’s funding is a sensible response to a declining interest in opera, or an act of cultural vandalism. Concerns have spread beyond Britain, with companies in Europe and the United States warning that the global opera ecosystem may suffer, too.Protesters outside the Department for Digital, Culture, Media and Sport, a government ministry, in London, on Nov. 22.Tolga Akmen/EPA, via ShutterstockDozens of senior opera figures — including Peter Gelb, the Metropolitan Opera’s general manager, and Yuval Sharon, the artistic director of Detroit Opera — signed a recent letter to The Times of London, warning of a wider impact. “Everyone across the world has long looked to the United Kingdom as a center of artistic excellence,” the letter said. “We fear that this decision signals to the world that they — and we — must now look elsewhere.”Gelb said by phone that he had already pushed the Met’s run of the “Ring” cycle back a year, to the 2027/28 season, “for casting reasons.” But, he added, “if the E.N.O. doesn’t exist, we obviously can’t collaborate with it.”Christopher Koelsch, the chief executive of Los Angeles Opera, said that the E.N.O. had “historically been a crucible for creativity and experimentation,” noting that numerous stars including the conductor Edward Gardner, the composer Nico Muhly and the director Barrie Kosky had done early or important work at the company.Los Angeles Opera had been planning a new coproduction with the E.N.O. for its 2024/25 season, Koelsch said, though he declined to give further details and said he had not been in contact with the company since the funding cut was announced. “I think they’ve got other things to focus on,” he said.Newspaper coverage of opera in Britain is usually restricted to the arts pages, but the ferocity of debate here in recent weeks has propelled it to the front pages, and made it a major topic on social media.The company has been urging opera fans to pressure the government and the Arts Council to overturn the funding decision. More than 74,000 people have signed an online petition started by the singer Bryn Terfel.Performances at the London Coliseum have a relaxed atmosphere.Lauren Fleishman for The New York TimesGenerous policies that give free or discounted tickets to people under 35 have helped English National Opera draw in a younger crowd than the Royal Opera House.Lauren Fleishman for The New York TimesIn the last season, each ticket the company sold was propped up with about $168 of state funding.Lauren Fleishman for The New York TimesJohn Berry, who was the E.N.O.’s artistic director from 2005 to 2015, said that the company had coped with funding cuts before: In 2014, it lost a third of its government grant after failing to meet box office targets. But it would be “impossible,” he said, for the company to deal with a total loss of subsidy unless “a guardian angel” appeared. That was unlikely, given Britain lacked a culture of philanthropy, he added.Britain’s major opera companies have a unique funding model that is halfway between American companies’ reliance on philanthropy and European houses’ dependence on state funding. The E.N.O.’s Arts Council grant currently represents over a third of its income. In contrast, the Los Angeles Opera gets about 5 percent of its income from public grants; the Met, about 0.5 percent.English National Opera traces its history back to 1931, when Lilian Baylis, a theater owner, established the Sadler’s Wells Opera Company to bring the art form to popular audiences. That founding aim is still central to the company, which stages all its work in English. Those performances, at the London Coliseum, have a more relaxed atmosphere than the ones at the nearby Royal Opera House, with audience members often wearing jeans rather than tuxedos, and generous policies to give free or discounted tickets to people under 35.It made its global reputation in the 1980s when it became the first British opera company to tour the United States and debuted a host of major productions including Nicholas Hytner’s much-praised 1985 staging of Handel’s “Xerxes.” Under Berry’s leadership, the company also started to act as a test bed for productions heading to the Met, with productions of Philip Glass’s “Satyagraha,” Nico Muhly’s “Two Boys” and Gershwin’s “Porgy and Bess,” among others, premiering in London before being tweaked and sent to New York.A scene from “Porgy and Bess,” which premiered at English National Opera in 2018. The production came to the Metropolitan Opera, in New York, in 2019.Tristram KentonDespite those triumphs, John Allison, the editor of Opera magazine, said in an interview that the company had recently been lurching from crisis to crisis with a string of high-profile resignations, financial difficulties and a declining number of works presented.Fewer performances meant that the Arts Council was subsidizing each E.N.O. ticket sold to a greater extent, and the company was often criticized for providing poor value for public money.A spokeswoman for the company said in an email that 90,000 people went to the company’s 63 performances last season, a figure that means each ticket was propped up with £137, or about $168, of state funding. The spokeswoman added that attendance was lower than usual that season, because of the pandemic, and that the opera reached many more people through other means, including television broadcasts seen by 2.2 million viewers.The Arts Council has defended its decision. Claire Mera-Nelson, the agency’s director of music, said in a blog post that she had seen “almost no growth in demand” for large-scale opera over the past five years, and had decided to prioritize funding for the art form “at different scales, reimagined in new ways” such as staging productions in parking lots, or pubs. Darren Henley, the Arts Council’s chief executive, wrote in The Guardian that “new ideas may seem heretic to traditionalists,” but that opera needed to reinvent itself to “remain exciting and meaningful to future generations.”On Thursday, Henley told British politicians he was having discussions with the E.N.O. over how it could keep showing work in London, as well as elsewhere in England, but added, “We can’t fund them in London.” (The Arts Council declined an interview request for this article.)While English National Opera’s future is hanging on officials’ whims, its audience seems hopeful that it will remain in London, somehow. At the Coliseum last week, before a performance of Gilbert and Sullivan’s “The Yeomen of the Guard,” the atmosphere was relaxed and informal. Audience members in winter coats and bobble hats arrived on foot, rather than in sleek cars, and headed into the theater, where a merchandise stall was selling T-shirts with the slogans “Choose Opera” and “#loveENO.”Nick McConagh, 72, said he had been coming to the E.N.O. since the 1970s because its tickets were affordable. “It disproves the belief that opera is for the rich,” he said.Nearby, Hatti Simpson, 30, with pink hair and tattoos, said she fell in love with opera after taking advantage of the company’s cheap ticketing for young people. Cutting the E.N.O.’s funding and forcing it to move out of London would be “an absolute travesty,” she said.Two hours later, when the lights went down at the end of the show, the audience of nearly 2,000 applauded and cheered. After the cast had taken several bows, Neal Davies, a Welsh baritone, stepped forward and quietened the crowd for one final number. “I’m here to sing the praises of English National Op-er-a, who strive to make the medium both radical and pop-ul-ar,” he sang, to the tune of Gilbert and Sullivan’s “I Am the Very Model of a Modern Major General,”If the company did not exist “your life would be a dull-er one,” he added. That prospect, Davies bellowed, “was almost as unthinkable as Gilbert without Sul-liv-an.”The audience cheered loudly. But it was unclear if anyone outside the building was listening. More

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      Met Opera, Reeling From Cyberattack, Will Sell Tickets on New Site

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      The company’s computer systems have been down for more than three days. It will now use a Lincoln Center website to offer $50 general admission seats to some performances.Three days after a cyberattack first paralyzed its website and box office, the Metropolitan Opera on Friday announced that it would sell $50 tickets to some performances on a site run by Lincoln Center.The Met, in a brief note posted on social media, said it would offer the general admission tickets as it worked to fully restore its computer systems, which have been down since Tuesday morning. The company has proceeded with all of its performances, including of “Aida” and “The Hours,” but the Met has been unable to sell any new tickets, including in its last-minute rush ticket program.“We appreciate your patience through this difficult time as we work to resolve the issue and resume full operations,” the note said.The attack has wreaked havoc as the Met prepares for a string of holiday productions. At this time of year, the company’s ticketing systems typically handle about $200,000 in sales each day.Peter Gelb, the Met’s general manager, said it could be several more days before the Met’s ticketing site is fully restored. The attack has also sidelined the company’s internal networks, including its payroll system.“It takes time, because when you have been hacked, you have to be sure that whatever functions are going back online are not going to be compromised,” he said.Gelb said the Met was still investigating who had carried out the attack and assessing the damage.Separately, the Musikverein, a concert hall in Vienna, posted a message this week saying its website was unavailable. “We apologize for the inconvenience and hope to be able to provide our usual service as soon as possible,” the Musikverein said.The cyberattack comes at a difficult time for the Met, which is still working to recover from the turmoil of the coronavirus pandemic and lure back audiences. Attendance is well below prepandemic levels.“At a time when you’re trying to get more people interested in opera and attending your performances, it’s incredibly frustrating,” Gelb said. “We all want the same thing, which is to make it easier for people to attend performances, not more difficult.”The Met will offer $50 tickets for three upcoming performances of Verdi operas: “Rigoletto” on Sunday and Wednesday, and “Aida” on Tuesday. Since the Met cannot connect to its ticketing system to see which seats have already been sold, the $50 seats will be general admission. Customers who buy the tickets will be given empty seats in the orchestra section on a first-come, first-served basis immediately before curtain.Tickets are being sold on www.lincolncenter.org/metopera. More

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      Joyce Bryant, Sensual Singer Who Changed Course, Dies at 95

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      In the 1940s and ’50s she was a glamorous Black star when there were few. Then she became a missionary.Joyce Bryant, a sultry singer of the 1940s and ’50s who broke racial barriers in nightclubs and raised the hackles of radio censors before setting aside her show business career in favor of missionary work, then reinventing herself as a classical and opera singer, died on Nov. 20 in Los Angeles, at the home of her niece and longtime caregiver, Robyn LaBeaud. She was 95.Ms. LaBeaud said the cause was Alzheimer’s disease.Ms. Bryant was a teenager when she first attracted attention on the West Coast with her striking voice and equally striking looks. She started out with the Lorenzo Flennoy Trio — “Can’t just can’t get rid of those chills up and down my spine whenever Joyce Bryant with the Flennoy Trio sings ‘So Long,’” J.T. Gipson wrote in The California Eagle in 1946.Soon she was appearing regularly at clubs, first in San Francisco and Los Angeles and then beyond. And she was developing a signature sexiness, wearing striking gowns that accented her hourglass figure.“Many of Joyce’s gowns are created so form-fitting that the singer cannot sit down in them,” The Pittsburgh Courier wrote in 1954. “Joyce has had to develop a glide to move about.”And there was her hair — silver, thanks to the application of radiator paint. Sometimes she went with an all-silver look: hair, gown, nails. It was a gimmick, she told The Montreal Star in 1967, that had been born of a desire to set herself apart from Lena Horne and Josephine Baker, two top Black stars of the day, at a benefit concert.“After them, who was going to listen to me?” she said. “I knew I had to do something different.”The “something different” garnered a long standing ovation, she told The Star. and “I don’t think the audience even heard me sing that night.”In her nightclub appearances, Ms. Bryant developed a signature sexiness, wearing striking gowns that accented her hourglass figure.Michael Ochs Archives/Getty ImagesHer look was only one factor in her fame. The other was her delivery, which on certain songs was boldly sensual. Her first record, released on the London label in 1949, was a song called “Drunk With Love” that she imbued with so much sexiness that some radio stations wouldn’t play it. (One in Los Angeles would play it only at night, news accounts at the time said.)A second release, her version of the Cole Porter song “Love for Sale,” encountered similar resistance.“Joyce Bryant’s waffles, ‘Drunk With Love’ and ‘Love for Sale,’ are darn good, but you’ll have to take our word,” Walter Winchell, the influential columnist and a Bryant fan, told his readers in June 1953. “Both ditties are banned from networks.”Her nightclub performances sizzled as well. When singing one number, she would pick out a patron, sit on his lap and give him a bite on the neck or ear or cheek.“Not a hard bite,” she said in a 2001 video interview with Jim Byers, who is making a documentary about her, “but a little nip.”In 1952 she was booked into the new Algiers Hotel in Miami Beach, one of the first Black performers to headline in that town. She was advised to tone down her act for the largely white audience, she said, but didn’t.Her first show shocked the crowd. For her second, she said, she noted a different seating pattern — the men in the audience somehow were all front and center.“There were all the rednecks and everybody sitting on the aisles,” she said, “hoping to be the one that was going to be bitten.”But she hadn’t escaped the racism of the day. When she was booked into the Algiers, she said, “It brought about a lot of stuff; it brought about burning crosses and threats.”Mr. Byers, who has studied Ms. Bryant’s life for decades, said that she engendered strong reactions because she was a dark-skinned Black woman (in contrast to lighter-complexioned Black stars of the day like Dorothy Dandridge) who was openly sensual. Her banned records, he said, had suggestive lyrics but not dirty ones.“Really,” he said, “the crux of it was that she was an African American woman singing these sensual love songs.”But in 1955, with her career going well, Mr. Bryant quit show business for a time. She told The Pittsburgh Post-Gazette in 1965 that after her voice gave out during an engagement at the Apollo Theater in Harlem, she overheard a conversation between a doctor and her manager. The doctor advised vocal rest; the manager instead urged him to give her cocaine to get through her shows.“I said to myself, if a human being can be exploited this way,” she said, “if somebody who is supposed to be guiding your career can be so selfish and greedy, even willing to risk you becoming hooked on narcotics for the sake of the almighty dollar, then I’d better get out.”She had been raised a Seventh-day Adventist and grew increasingly ambivalent about her singing career and her sexy onstage persona the more famous she became.“I felt for three years that I was living a lie,” she told The Chicago Tribune in 1956.Ms. Bryant in 1977. She took a break from her singing career in the 1950s, doing missionary work and then becoming a teacher.Chester Higgins/The New York TimesShe entered Oakwood College (now Oakwood University) in Huntsville, Ala., a historically Black institution run by the church. She did missionary work and then became a teacher in Washington. There she was encouraged to try opera, and in 1965 she was back on a New York stage, singing the role of Bess in a New York City Opera staging of “Porgy and Bess.”Harold C. Schonberg wrote in The New York Times that her voice was not quite strong enough for the part, but that he was mesmerized by her acting, calling her “beautiful, lithe, intense.”“When she made her entrance,” he wrote, “wives in the audience clutched their husbands’ arms. A black panther was on the loose.”She played Bess in various houses across the country for several years. Then, in the 1970s, she reinvented herself again, performing a more modest pop-and-standards cabaret act in places like Cleo’s and the Rainbow Grill in Manhattan.“Song by song,” John S. Wilson of The Times wrote in reviewing her at the Cotton Club in New York in 1978, “Miss Bryant’s performance is a masterful display of concept, structure, and a delivery that bristles with vitality.”Mr. Byers said that in the early 1990s Ms. Bryant, who was living in New York at the time, was walking near Lincoln Center on a sidewalk that was being repaired. She took a fall and was injured, breaking a knee and chipping some teeth.“That’s when she basically disappeared,” he said, moving back to California and fading into relative obscurity.Ms. Bryant performing at the Rainbow Grill in Manhattan in 1977.Chester Higgins/The New York TimesEmily Ione Bryant was born on Oct. 14, 1927, in Oakland, Calif. Her father, Whitfield, was a chef for the Southern Pacific Railroad, and her mother, Dorothy (Withers) Bryant, was a homemaker.Ms. LaBeaud, her niece, said that Ms. Bryant’s grandmother used to remark that her granddaughter’s singing around the house brought joy; “joy” became “Joyce,” which Ms. Bryant began calling herself.Ms. Bryant’s career got started when she and some friends were visiting Los Angeles and went to a nightclub where the entertainer was leading an audience singalong.“All of a sudden she realizes that no one else is singing but her,” Mr. Byers said. Her arresting voice got her paired with the Flennoy Trio and, Mr. Byers said, also got her a film role as a nightclub singer in the 1946 George Raft movie “Mr. Ace.” But, Mr. Byers said, she was shown only in fleeting glimpses, and subsequent scenes in other movies were cut entirely, which he attributed to Hollywood’s racial constraints at the time.She appeared regularly at nightspots like the Club Alabam in Los Angeles, then received a career boost when Pearl Bailey, appearing at the West Hollywood club Ciro’s, became ill and she was brought in to complete the engagement. That got her a booking at Bill Miller’s Riviera in Fort Lee, N.J., just outside New York, in the summer of 1951, where Mr. Winchell saw her and became a fan.“Almost every day I got a mention in his column,” she told The New York Times in 1977. “That did it for me.”Ms. Bryant is survived by a brother, Randolph.Mr. Byers said that Ms. Bryant remained relatively unknown because she did not fit show business molds — first as a glamorous Black nightclub singer when that was not common, then as someone who turned her back on fame.“What has always fascinated me about Joyce’s career,” he said, “is what it says about the machinery of popular culture.” More