This site requires Javascript to be turned on. Please enable Javascript and reload the page.

The Met in Motion

Met HD Live Countries

This page has tags:

Contents of this tag:

This page is referenced by:

Moving Through the Met (Introduction pt. 2)

My floor plan is a map of movement, built out of my many paths through the Met — from box office to bathroom, from the Family Circle nosebleeds down to the outlet by the secret rooms on the parterre level where I like to charge my phone. Up the central stair, with a pause to take a photo with the statue of a woman that kneels at the stairs’ first arc, or of the chandelier. Down the side stair, my heels wobbling on plush red carpet below me, my fingers trailing on the plush red carpet walls beside me.The Met is full of movement. Stage action is movement. Audience ebb and flow is movement. Money moves across the plexiglass box office windows and the gift shop counters. Singers move across the world to land on the Met stage for a few weeks, a few nights. Every night, the ritual of the opera begins with the slow upwards movement of the Sputnik chandeliers that hang above the heads of the orchestra seating and rise all the way up to the ceiling before every performance, just before the house lights dim.

The chandeliers' rise is an iconic enough piece of Met choreography that it has crossed from pre-show to stage movement — in Thomas Adès' opera, The Exterminating Angel, based on the surrealist 1962 Buñuel film of the same title, a group of wealthy guests arrive for a lavish dinner party. Minutes later, for no apparent reason, they arrive all over again, repeating much of the same dialogue. In Tom Cairns' 2017 Met staging, this repetition is paired with the rise, quiet descent, and re-rise of the house chandeliers. An entrance, another entrance, the chandeliers, the chandeliers again; to reset and repeat this particular movement is to make the strongest possible statement that something has gone wrong in the natural time-flow of a night at the opera.

There is also movement — sanctioned and unsanctioned, permitted and disurptive — across the barrier of the grand glass windows that face onto Lincoln Plaza. Increasingly, what moves out of the Metropolitan Opera is the performances themselves, live-broadcast in cinematographic angles and sparkling High Definition to movie theaters in 73 countries. Since 2006, the Met Live in HD series, which now simulcasts around 10 out of the 24 operas in a given Met season, has been the hugely successful project of Met General Manager Peter Gelb. Like all things about Gelb’s tenure, it has also been contentious. There is fear and anxiety around the Met Live in HD — fear about the Hollywood-ization of opera that in the comments sections of Youtube and Facebook gets projected onto photogenic superstar singers like Anna Netrebko and Jonas Kaufmann.
Opera on the cinema screen, for many operaphiles, seems to be a step too far — something, they fear, has happened to opera as it has moved out of the velvet-and-gold box of the Metropolitan Opera House and onto hundreds and thousands of screens. But what is it that has happened to opera?
HD Liveness: What is "Live in HD"? 24 A Met success by the numbers. image_header 2019-07-24T11:20:49-07:00
Since 2006, when Peter Gelb launched Live in HD, 141 performances of 105 operas have been simulcast as part of the program. I collected all of those operas, along with some information about them and their productions, into a dataset in order to get to know Live in HD by its numbers.
The Beginning:
Live in HD's first season included only 6 broadcasts — Die Zauberflöte, I puritani, The First Emperor, Eugene Onegin, Il barbieri di Siviglia, and Il trittico — since then, they've dialed up to 10 per season, with a little less than half of the Met's full season being broadcast. According to a 2007 New York Times article, that first Zauberflöte broadcast, "played at 100 theaters, most of them scattered throughout the United States and Canada, with seven in Britain, two in Japan and one in Norway." Now, the broadcasts go out to thousands of theaters in 73 countries. According to another 2007 New York Times article:
For the first live show, “The Magic Flute” on Dec. 30, about 21,000 people watched in front of 98 screens. For the last, “Il Trittico” on April 28, 48,000 people watched in front of 248 screens.” In all, the Met sold 324,000 tickets worldwide at $18 each in the United States and more overseas, taking 50 percent of the proceeds and earning at least $3 million, as well as additional income from the sale of rights. Each simulcast cost $850,000 to $1 million to make.
The Operas
Across 141 broadcasts, the Met has shown:
- 105 operas, with the most broadcast opera being Tosca (4 broadcasts of 2 productions)
- 40 composers, with the most broadcast composer being Giuseppe Verdi (20 broadcasts) followed closely by Giacomo Puccini (19). 19 composers have had just 1 production broadcast.
The Languages
The Met has broadcast operas in 9 different languages. Here's how the ratios break down:
Of the big three operatic languages, Italian, French, and German, Italian is, obviously, over-represented. Unsurprising, given the dominance of Verdi and Puccini amongst the composers. The one opera in Sanskrit is Satyagraha, by Philip Glass. The one in Hungarian is Bluebeard's Castle, by Bela Bartok.
The Composers
Of the 40 composers represented on HD Live, 6 are still living (Tan Dun, Philip Glass, John Adams, Kaija Saariaho, Thomas Adès, Nico Muhly). 1 is female: Kaija Saariaho, whose opera L'Amour de loin was broadcast on December 10, 2016. 1 is a person of color: Chinese composer Tan Dun, whose opera The First Emperor was broadcast on January 13, 2007, a part of Live in HD's inaugural season.

The Years
Unsurprisingly, given that only 6 living composers have been broadcast, most of the Live in HD's operas have not been recent compositions. Here's a look at the years of premiere for these operas:

For context that helps explain where this pyramid shape comes from, here's another look at that chart, but with the composing careers of Verdi and Puccini mapped over it:

Clearly the overlap in the second half of the 19th century when both these men were actively composing has significantly affected these seasons' demographics — this is the canon at work.

The Co-Productions
Opera is very expensive. Something that is common at all levels, from regional houses to the Met, is productions done in partnership — two companies will split the costs of a new production, and then they both get to show it and both benefit from having a new production in their season lineup. Of the 141 performances broadcast, 95 have been co-productions. For the truly dedicated, here's a chart of which houses the Met collaborates the most frequently with:

As a way of interpreting this data, here's a chart of where these houses are, globally:

As you can see, while my map of performers' birthplaces showed that opera singers come from just about everywhere, opera productions, or at least the productions you can catch at the Met, overwhelmingly come from Europe.
Worldness on the Move: The Met in the World The Met's Live in HD is a proudly global enterprise, comprising thousands of cinemas in 73 countries. You can visit their theater finder webpage to discover your nearest participating cinema. The broadcasts are not, however, the only form of global movement at the Met — there is also the movement of singers, conductors, musicians, and other artists from abroad into the Met, as well as the global movement of opera, an originally Italian art form, to America at all (Giacomo Puccini, perhaps the most famously Italian opera composer of all, famously visited the Met twice, in 1907 and 1910; the latter visit was for the premier of his deliciously odd proto-Spaghetti Western opera La Fanciulla del West.)

This map puts these two sets of radial movements — artists in, broadcasts out — in conversation with one another:

Grey dots represent some (not all!) of the cinemas broadcasting the Met Live in HD series. Some cinemas are missing, due to gaps in the Met's own archival records — broken addresses in their "find your local cinema" widget.
Blue markers represent the birthplaces of composers whose works have been broadcast via HD Live, from its inception in 2006 until the 2018-19 season.
Purple markers represent the birthplaces or hometowns of conductors whose performances have been broadcast via HD Live, 2006-7 to 2018-19
Green markers represent the birthplaces or hometowns of principle singers whose performances have been broadcast via HD Live, 2006-7 to 2018-19.
Click on the top-right button to open the map in its own tab, where you can look at each layer of data individually or in any combination you like.