Opening night at the Metropolitan Opera is approaching quickly! The Met will open its 2013-14 season with a new production of Tchaikovsky’s Eugene Onegin, starring Anna Netrebko and Mariusz Kwiecien. For this opening night to be put on, however, a lot of work has had to be put in by the star singers, the chorus, the stagehands, the radio department, lots of other departments, and of course, the orchestra! My mother, Susan Spector, is the Second Oboist of the Metropolitan Opera Orchestra, and has been for twenty-two years. She sat down with me and gave me the scoop on how pre-season went, and what to expect for the upcoming season:
Photo: Susan Spector © Michael Ouzounian
Melanie Spector (Ms.OperaGeek): Overall, how was pre-season? You just finished it yesterday with the final dress rehearsal of Eugene Onegin.
Susan Spector: It’s a shift of gears from summer to spending all day rehearsing. Some of the orchestra members have come to call it “boot camp” *laughs*! After three weeks of pre-season, it’s awfully nice to play for an audience, which is what we did in the dress rehearsal yesterday.
MS: Which operas did you rehearse in pre-season?
SS: I rehearsed Così fan tutte and Eugene Onegin, and one day with just orchestra of Falstaff with Maestro Levine. Other people have been playing The Nose and there have been a couple of rehearsals of Norma.
MS: Now that James Levine is back, I would expect that conducting from a wheelchair would be slightly different—for him and for the players in the orchestra. Can you elaborate?
SS: There has been major construction inside of the pit and outside, leading up to it. One lift has been installed outside of the pit, a special ramp has been installed in the pit behind the players, and we’re still working out the logistics of having him enter and then resetting certain seats and stands in the orchestra once he is in the pit. As a matter of fact, the area most directly in the path of where the wheelchair needs to come through is the oboe section–where I am. Ironically, oboe players tend to have the most “stuff” or “fiddly reed things”, tuners, knives, etc. It might be a challenge for us, but we’ve done it once and it went mostly smoothly, and I have some ideas for a more speedy departure from and re-entry into the pit! (And, no, my ideas do not include skipping the overture and coming in late!”) *laughs*
MS: What are you most looking forward to playing this season and why?
SS: I am really looking forward to playing Die Frau ohne Schatten. My two favorite composers to perform at the Met are Wagner and Strauss. They probably have the most colorful, intricate, and challenging orchestral palettes of any composers of opera. Frau is also so rarely done, that I am really looking forward to its return. Also, another opera I’m looking forward to is Prince Igor. Even though I do not have a part, I am really looking forward to watching it from the audience. I look forward to hearing Noseda conduct, but I will miss playing for him. I always find his performances to be very committed and riveting (and he’s a nice guy!).
Photo: The Met’s production of Die Frau ohne Schatten
MS: Have you had any fun encounters backstage or down on C level during pre-season, or heard any other people rehearsing?
SS: I hear the Ballet rehearsing at the same time we are, and the Chorus has been back since July. I’ve run into James Morris who is here for Norma, I’ve seen the cast of Onegin, the Children’s Chorus for A Midsummer Night’s Dream. Also, our orchestra lounge has also served as a temporary repair shop during pre-season: a place where stagehands make their annual repairs to the backs and seats that need to be reupholstered in red velvet for the house. This was another surprise: I saw the set for Onegin and there were so many mirrors on it that I thought it was the Met production of Frau!
MS: Who are you looking forward to hearing sing this season?
SS: Juan Diego Florez and Joyce DiDonato, even though La Cenerentola is all the way in April. I love Jonas Kaufmann, and I am not scheduled to play Werther, so I will be in the audience!
MS: Which conductors are you looking forward to working with this season?
SS: I love working with Yannick Nézét Séguin, and am looking forward to seeing him conduct my teacher Richard Woodhams in the Oboe Concerto of Richard Strauss with the Philadelphia Orchestra next month, and then playing Rusalka with him at the Met! I also am glad that James Levine is making his return to the podium. He has a particular affinity for the works of Mozart and Verdi, in my opinion, so Così and Falstaff will no doubt be highlights of the season.
MS: Is there anything that you are dreading about the upcoming season?
SS: No Wagner! Where’s the Wagner? Where’s the beef?! I love playing Wagner, and I am sad that there is none of his music this year. Also, I am not playing A Midsummer Night’s Dream and I love Britten, so I am a little disappointed in that. I will also miss looking up from the pit and seeing my daughter singing on the stage with the Children’s Chorus…and I will miss seeing her in light-up horns at the Ring!
MS: What happens over the summer? Are there any meet-ups during the summer? Festivals?
SS: Once the opera season ends, the members of the Orchestra usually do not see one another. We had one Carnegie Hall concert immediately following the end of the season, and then we were on vacation until after Labor Day. On September 4th, we returned and rehearsed Mahler VII in anticipation of the December Carnegie Hall concert. Some Orchestra players saw one another at the Tahoe SummerFest at Lake Tahoe, some played at other festivals, others like myself used the vacation to get a little time away from the instrument. Some people like to play different kinds of music other than opera during the summer, symphonic or chamber music, for example. I love having the chance to go hear performances during the summer. I loved going to Covent Garden and Glyndebourne this past summer, listening to BBC Proms concerts over the Internet, and watching the performance of Elektra with Esa Pekka Salonen that streamed live from Aix-en-Provence was totally riveting. Finding the time for opportunities to attend and listen to other performances is much more difficult when I’m in the midst of a busy opera season and my own performances.
MS: That’s nice that you get to attend things during the summer and be in the audience! What was the highlight of your summer musically, as an audience member?
SS: Seeing Britten’s Gloriana at Covent Garden while being in London at the same time as Queen Elizabeth’s Diamond Jubilee to celebrate her reign was amazing! It was written for her, making it a very unique piece, and I just love his music. Also, being in London- seeing so many things on Queen Elizabeth I, the subject and main character in Gloriana, was very cool!
MS: Any last words for anxious opera fans waiting for the season to start?
SS: I think it’s going to be an exciting year for the Met: in the opera house, on the airwaves, and in the movie theaters. Opera fans can be the most fanatical fans (in a good way!), and members of the Orchestra hear that in your applause and “Bravo”s as well as in your excited tweets and blog posts. It can sometimes be difficult repeatedly playing the same repertoire, so your excitement keeps it exciting for us! It is so nice seeing a passion for opera by so many people, and it helps us remain passionate about playing.
If you would like to read more about Susan Spector read here: http://www.metoperafamily.org/metopera/about/whoweare/detail.aspx?customid=3 (Scroll to Susan Spector in the oboe section)