“I’ve been watching that collect dust for 35 years,” a mature New Yorker tells her friend as they sit staring straight-ahead from the Dress Circle of the Metropolitan Opera House. There is an odd sculpture directly above the proscenium, incongruous to the main of the decor. “It looks a bit like old-fashioned toothless saws and some fishbones; what is it supposed to be?” I ask. In Manhattan one is allowed to jump into others conversations. Toronto is a friendly city too, but we would pretend not to hear a private conversation beside us, to be polite. Here people join in strangers conversations all the time, it’s probably what I love most about this city. “I think it’s a broken violin,” she answers, “but it’s hard to tell. Whatever it is, it sure is ugly.” Yes, it is that. (I look it up later. It’s a bronze called “Untitled” by Mary Callery. I guess she didn’t know what it was either.)
“It’s an ugly theatre,” she adds, “from 1966. The one the opera used before was much nicer.” It’s true, looking around all the balconies, the gold scallop design would have been ugly in any era. The ceiling is great though. I love the Sputnik chandeliers, bursts of crystal celebrating the space age and reminiscent of Superman’s icy home planet. (Did he have an icy home planet? It’s been a while.) I mention this and she adds,”The chandeliers are from Austria.” Before the show an elderly couple I was chatting with in the foyer had told me they were from Czechoslovakia. “The Czech Republic is known for it’s glass and crystal work,” I had acknowledged. Anyway, they are definitely from somewhere. (Post note, they were a gift from the Austrian government and were recently sent to Vienna for refurbishment in 2008.) The lights lower and the low-hanging chandeliers around the periphery rise in unison, they make their way to the ceiling as to not obstruct any view. It is apparent that a few have at times risen too far; there is some damage to the gold leaf ceiling exactly where a few of the chandeliers have scratched against it. This evening they stop about three feet below. In the Met gift shop there are pieces of replaced chandeliers available for sale. Little pieces of starburst that had caught my eye before I knew what they were as they reminded me of my former-partner’s sculptures that he called orb.bits. Sparkly, unique, and collectable, people bought them mostly to hang on their Christmas trees.
Although I don’t love the music of Verdi’s Falstaff I’m happy to see this production conducted by James Levine. I had seen some of his backstory during a live broadcast of Tosca at a cinema recently in Toronto. He has come back after a major spinal injury that had seemed like the end of his illustrious career. Now he’s back and with as much passion as he ever had. With the energy apparent of a twenty year-old. It is a miraculous recovery, even if he is aided by the best hydraulic technology.
“Today’s curtain calls are about twice as long as they should be,” I suggest to nodding seat mates after we’ve all tired of clapping and most of us have stopped. I think it’s great to show appreciation, but if I were directing a curtain call I’d have the company do a respectable once-over and leave the stage with the thunder at it’s full force and before the audience has become worn-out by the effort. Instead they wait for it to trickle, as if they must be standing before us since we’re still clapping. Then we feel like we must keep clapping because they are still standing before us. “Thank you SO SO VERY much,” we seem to be clapping, as if we had not paid hundreds of dollars for our tickets.
Standing in front of the Metropolitan Opera House at the Lincoln Centre, Manhattan, NYC.
Gorgeous chandeliers in the lobby.
Gorgeous chandeliers in the auditorium.
Click the link below to see more images of the chandeliers: