Jim Tobin follows up on a few other comments:

>I have seen nearly all the productions during the last year and I
>wouldn't trade my seat for almost any of the seats at the Met itself
>because there is so much "added value" in the cinema venue.  Not only
>do you get a really close-up view--which in many cases is really worth
>having--but the backstage interviews with the singers, conductors,
>designers and others, several of them done by the lovely Renee Fleming,
>have been very satisfying.  Participating venues are specially equipped
>for HD transmission and the sound has been excellent.

Over on the Opera List, the Met broadcasts are critiqued extensively
following each performance.  Response about the presentation is generally
favorable--unusual in any gaggle of opera lovers!  There is the obvious
point that, no matter how good the technology, it isn't the "same" as
being in the house.  Granted.  However, as Jim points out, there are
added benefits.  One of my favorites (though its overuse risks becoming
a distraction) is when they go behind the curtain to show the stagehands
preparing for the next scene.

I do think we must be cognizant that this is a distinctive art form;
it is not simply a transmission of a staged event. As such it privileges
some things (acting ability, attractive singers) over others (a viewer's
ability to focus on whichever part of the stage s/he chooses, the size
of a voice.) Already we have heard performers "confess" to altering their
performance on the days of video transmission.  Also, this year, Damnation
de Faust seemed chosen for the potential to try out innovative video
displays.

None of the above is a complaint.  Far from it.  I am counting the days
until Orfeo, the next broadcast.  And, by the way, the critics are raving
about the lead singer, Stephanie Blythe, who no one would confuse with
a movie star looks.

Ed

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