The 2015 Metropolitan Opera Guild Holiday Card, Designed by Melanie Spector

2015 handed me some incredible opportunities. I was accepted to Manhattan School of Music, am studying with my first-choice voice teacher, and I even got to see my favorite team, the New York Mets, battle it out in the postseason – to the bitter end. One last opportunity granted to me in 2015 was to have the honor of designing the Metropolitan Opera Guild’s holiday card. After seeing some of my other works, such as my 2013-14 Met Season drawing, those on the Guild were interested in having me design their card. Here is the final product:

MOGCard

The front of the 2015 Metropolitan Opera Guild Holiday Card © Melanie Spector 2015

As the English-version of Die Fledermaus is being performed at the Met right now and as it is always associated with New Year’s Eve and the holiday season overall, I figured it would be a perfect theme for a holiday card. Champagne bubble letters, I believe, are appealing to everyone. I did have another idea, however, that I was hoping would pull through as the favored design of the two I created. Here is my other card design:

MOGChristmasCard2015wsignature

2015 Metropolitan Opera Guild holiday card alternate design © Melanie Spector 2015

One with any prior knowledge of opera would understand that this is a reenactment of the end of Act II of Puccini’s Tosca. Instead of Tosca stabbing Scarpia with a knife, however, she kills him with snowballs. The two candelabra set on either side of him are seen in any production that is true to the libretto. The snowman is obviously not in the libretto, but I thought it would be a nice touch to a relatively vulgar holiday card. This design was not chosen to be used, however, I’m sure I can make use of it in the future.

I hope all of you readers have a wonderful new year. Thank you so much for keeping up with my posts in 2015. I look forward to writing more about opera and other subjects in 2016. Happy New Year!

Tossing Opera to the Younger Generation

The subject of “Opera and classical music are dying art forms” has been the dreaded fear for music lovers over the last century. As horrifying as it sounds, is it actually true? Opera companies around the world such as the Seattle Opera and the Lyric Opera of Chicago have incorporated opera institutes and guilds in which children and young adults can participate. Orchestras such as the Berlin Philharmonic host children’s concerts, such as O TannenBRASS!, and make themselves accessible to the larger public through their use of the Digital Concert Hall. If opera and classical music are still dying, is the message not getting through? For kids to be interested in these art forms, every opportunity should be granted allowing them even the opportunity to develop an interest. Maybe the classical world is working too hard and is attempting to “force feed” classical music, pushing it to the point of forcing it upon on the younger generation.

It is true that some people do not need extra nurturing to find interest in classical music. I endured Wagner’s heavy nineteen-hour Ring Cycle at age six and fell in love with opera without much previous experience. I watched the entire Ring on DVD before attending the Cycle live, and had been introduced to opera previously through recordings. However, I had grown up around my musical parents, with classical music playing constantly in my home. What about the kid who lives nowhere near the Met, surrounded by family members who never keep an ear to WQXR or opera broadcasts elsewhere, and who has had no exposure to classical music even within his or her school? He or she is not going to take on the Ring as it is, let alone “lighter” operas such as Carmen and La Bohème. For someone who has had no exposure to the art form whatsoever, I feel it is important to give him or her every single opportunity to experience it: Watered down or not.

Luckily, through the Internet, non-profit musical organizations, and other sources, opera and classical music are spreading to the younger generation. Through the Internet, for example, groups such as Opera 5 on YouTube present shortened opera plots in two to three-minute videos in order for opera to “make sense” to the naïve or uninitiated. A kid who has never heard of Richard Strauss’ drama Salome might find it funny how Salome’s step-father is somewhat of a creep or “perv”, asking his step-daughter to dance in the nude for him. They may call their videos “Opera Cheats”, but I don’t feel that watching these videos should be considered cheating if watching them leads someone to finding an interest in opera, and then proceeding to research what the real thing is like.

When the Met Opera Guild takes its presentations to schools in and around New York City, their representatives are not putting on fully-staged three to four-hour performances. The Guild’s various program offerings include allowing students to write their own compositions, voice instruction, student performances, and giving libretti, CDs, and English translations of operas to teachers to present to their classes. After the students are introduced to opera through this gentle approach, they have the opportunity to see final dress rehearsals at the Met itself. Instead of throwing operas such as La Bohème at them and saying, “Take it or leave it,” the Met Opera Guild coaxes their interest and then reveals to the students what the real deal actually is. Four hundred sixty New York City school children attended the dress rehearsal of La Bohème in September through the efforts of the Met Opera Guild.

Maybe some of those kids would have had a positive reaction even if La Bohème had been outright thrown at them. It was undoubtedly more meaningful to them, however, having previously had the presentations and opportunities given to them through the Guild, to have it mildly tossed to them. The younger generation is not going to suddenly become the next generation’s opera buffs with merely age and maturity nor should the opera world expect to alter or change the younger generation. That is why the more experienced side must conform for—or at the very least accommodate–the other side in order to spawn interest, not vice versa. Opera and classical music are arts that must remain accessible to everyone, not just to those who are willing to bravely plunge in without prior information or to those who have existing knowledge about the art forms. It is the informed side’s fault if the younger generation “misses a chance” to hear about or try opera. Missed opportunities for new people to experience opera, watered down or not, are unfortunate.

Without Joan Sutherland’s “Who’s Afraid of Opera?” videos using puppets and $10 sets, it is certainly possible that opera would still have interested me just as much as it does today. These delightful “condensed” versions of operas, seen at an extremely young age, could not have hurt, however, in fostering my early positive response to music as well as furthering my interest. I do not know if I would have experienced the same passion for the Ring had it been informally shoved at me in its full unadulterated form from start to finish when I first experienced it. Luckily, however, through Joan Sutherland’s videos and other “dumbed down” classical music videos, I did not miss my chance to try it. Perhaps “dumbing down” allows for opportunities for quite smart and surprising revelations—on the part of the uninitiated as well as the diehard fans.