Just in: Yannick renews at the Met
OperaMusic Director Yannick Nézet-Séguin has renewed hi contract at the Metropolitan Opera until 2030.
There was never any doubt that he would.
General manager Peter Gelb said, ‘The Met is very fortunate to have one of the world’s greatest conductors as its Music Director and is even more fortunate to now have him on board through the 2029–30 season. His extraordinary achievements to date with both new works and classic repertoire are a preview of what is to come. Yannick’s tenure will be defined, in part, by the new Ring cycle that is created under his watch. My job is to deliver a new Ring to Yannick that has the potential to be one for the ages in terms of casting and production. With Yannick conducting, Lise Davidsen as Brünnhilde, and Yuval Sharon directing, the possibilities are unlimited.’
Gelb has also confirmed a new Ring cycle, directed by Yuval Sharon, starring Lise Davidsen as Brünnhilde.
I think his current Philly contract also goes through ’30. It’s a great arrangement for him because of how close the two cities are to each other.
I like how close he stays to Montreal. He brought the Philly Orchestra up to Canada last season. And I look forward to hearing his Ring very much. He conducted a concert Parsifal at Lanaudiere a few years ago, but I balked to to the venue. Its good for a 3 hour opera but Parsifal?
So the freak show continues.
Thank God I get to travel frequently.
Yes, and isn’t it amazing how many mezzos go gaga after a number of years of singing. I am a kind guy so I won’t mention any of the others by name.
They’re probably happy to have a conductor who doesn’t juggle baby boys in his lap.
A Ring for the ages with YNS.
Sorry, but I can’t stop laughing.
Well he conducted a very fine Parsifal a few years back. Mind you, after the plank debacle I am dubious about the production itself….
YNS’s Lohengrin was FANTASTIC and the best I’ve seen.
Because of the tremendous job he did with Lohengrin, I’m eager to hear his Ring.
Why is it necessary for unqualified CEO’s like Gelb to announce what will be a Ring “for the ages”? Only 15 or so years have passed since the company in Valencia under Helga Schmidt’s direction announced a Ring cycle “for the 21st century.” Under the excellent direction of Mehta and a fascinating production by the Barcelona Street Theatre company La Fura dels Baus, this was in many respects worthy of the epithet. We obviously have to wait to experience Nezet-Sequin’s cycle. No doubt the opportunity to hear Lise Davidsen will be well worth the wait. As for the rest of the production, time will tell.
FIRE GELB, SAVE THE MET!’nn
It’s rather moot a this point. He’s only got 3 years left on his contract. The damage has already been done.
Three years too many.
And what salvage yard I’d going to take the previous Ring off the Met’s set warehouse?
Only the Met can afford to pay $16 million for eventually scrap metal … or the world’s largest door stopper …
Put it in Coney Island and turn it into a ride-and-slide (yea, I’d pay a dollar to ride it to the tune of the Valkyries)
If ONLY he was renewed until 2023. Then we would’ve already been done with him!
I attended a concert performance of “Walküre” with Yannick conducting the Rotterdam Philharmonic, and he was outstanding—a natural-born Wagner conductor. I’m eagerly looking forward to his upcoming Ring at the Met, though I hope this production will be better than the last one, which wasn’t great. My concern, however, is that it might be premature for Lise Davidsen to take on the role of Brünnhilde. Why the rush?
I would be strongly in favor of dragging out the Otto Schenk production again. I’m sure it’s somewhere in New Jersey………..
I believe it no longer exists.
A pity. Apart from the dragon (Fafner) being a huge balloon offstage left (pathetic Mr Schenk) it was really terrific, most especially the Magic Fire at the end of Walkure. That was epic!
I don’t know who first said that nostalgia is a power drug. If true, in the case of the Schenk RING, I’d happily be an addict.
Those performances (I saw the first year and every revival) never failed to entrance–to mostly packed audiences.
“powerful”, not “power”…
I, too, would like to see the Otto Schenk production revived.
2023?
One of the world’s greatest conductors?? Who’s he trying to kid?
The less said about YNS’s Ring the better. I am sure he’ll get through a few batons.
Good for Yannick. However, let’s hope that Gelb and his bad taste and Konzepts coupled with bad management of the MET are a thing of the past before long. He’s like a fish at Benjamin Franklin’s house and he’s now reeked there for years. By the way, whose paying for the new Ring production. His last one was so bad some singers found it dangerous enough to walk away including Sir Bryn. The last one was way overe budget and he has to rob from Peter so to speak to pay Paul.
Ghost in the Machine.
I’m rooting for him to do better. So far, he’s trying to bring in new audiences with contemporary works that by and large, aren’t very good. And his takes on the standard rep lack a distinctive stamp. He’s talented but without much vision.
Peter or Yannick, or both?
Not the talentless hack Peter. In regard to the opera going public when it comes to Peter Gelb, “Uninvited guests are often most welcome when they leave.”
And cue the Met/NYC bashing in 3…2…1…
BIG Met News:Yannick renews contract till 2030. As Peggy Lee would say, “Is that all there is?” Just hope he gets better hair and make up assistance.
To the Met Board: The definition of insanity is doing the same thing over and over and expecting different results.
And still you persist…
Couldn’t they get a real conductor with a clue?
I’m looking forward to the fun ‘n kicky cozzies he’ll wear while conducting the “Ring.”
Does he ever wear a shirt?
YNS with the LSO in Baden -Baden last month = incredible, sensational.
Many have voiced their doubt about YNS’s Ring, but what about the stage director? Yuval Sharon has little experience directing big-ticket operas at major houses, and of the very small number of productions he’s done at least one was a big disaster (Die Zauberflöte at Staatsoper Berlin). And now he is directing the Ring at the Met? Why??
His Walküre was plain dull.
His Bayreuth “Lohengrin” was well-received.
Wonderful news, Congratulations to Yannick!
From personal experience…YNS has great energy and is passionate about music. However, his passion has often resulted in bombastic volume. This needs to be reigned in…especially on the Ring. Yuval Sharon as Director of the Ring…I wouldn’t walk across the street for this. Peter Gelb thought that his machine for the Ring was so great and damaged the company with that production. Sharon’s attempts could cause even more ruin.
No worries. The Met will be a vacant building by 2030 thanks to the Woke Gelb, so….
Yuval Sharon’s Lohengrin at Bayreuth is ok but not great. He may have been hampered by the fact that he inherited someone else’s design when the original director withdrew. The fight between Lohengrin and Telramund is bizarre, as it takes place, high above the stage, between stunt doubles on wires.
Let’s hope his Ring has more gravitas, even though I’m aware that that is an unfashionable quality in the opera house these days.
I wonder how much Gelb will raid the Endowment to pay for this new production. Of course we know that donors cough up considerable funds for new productions, but the Ring is a good deal more expensive than your average production. Last year, the Met’s Endowment as reported in SD was $255 million. Is it not only ten years since Gelb threatened closure unless he obtained major cuts in salaries? Part of the resultant deal with the Unions was that he and the Board would mount a major campaign to double the amount in the Endowment. Three years ago it was reported as being $380 million, still well short of that doubled figure.
During 2022, he withdrew $30 million. Perhaps understandable given the effects of the pandemic. But in the New York Times he stated “he hoped to replenish the funds in a few months.” Not only has he not replenished them, he has kept on withdrawing more funds! In July last year it was worth $309 million. Now another $64 million has disappeared into the Gelb production machine. Even its massive Chagall murals were used in 2009 as collateral for a $35 million loan. Has the ever been repaid, I wonder?