How the Met uses its muscle at the moviesmain
Disturbing tales are reaching me from cinema owners and distributors who want to stream live opera.
Trouble is, some already have a deal with the Metropolitan Opera, and the Met’s lawyers don’t like competition. Not one little bit.
There are two types of restrictive contract clause they try to impose on movie houses that take the Met feed. One is to stop them showing opera from any other source. The second, if the first is rejected, requires them to reject any opera already seen from the Met that is offered in another production. I know of one very large opera company that has been shut out of the cinema circuit for the moment by these clauses.
What this means is less choice for audiences, less revenue for cinema owners, and a rising tide of resentment towards the Met for acting like a schoolyard bully. Don’t believe anyone who tells you that we’re all in this together for the greater good of art. The Met uses muscle to protect its global brand.
Happily, there are alternatives to the movie circuit. Glyndebourne is streaming Die Meistersinger this weekend onto a newspaper website and into a museum cinema. It has also acquired a loyal following in south of England cinemas, which prefer local rye bread to New York bagel. I hear further signs of anti-Met backlash in other areas. Peter Gelb would do well to soften his contracts and try to act nice.
See also: The Met giveth, the Met taketh away.