The complex upgrade of stage rigging systems and machinery was bound by many logistical constraints that resulted in unique project challenges. To stay ahead of advancing technological demands, the New York City entertainment landmark is undergoing a state-of-the-art modernization of its original theatrical infrastructure, scheduled over a six-year period.
Its vast array of hydraulic elevators, motorized stages, and automatic rigging systems harmonize nightly to create dazzling productions. “I tried to explain that, in fact, the opposite was the case.Opened in 1966, the Metropolitan Opera House at Lincoln Center for the Performing Arts is one of the world’s most highly mechanized performance venues. “They kept saying to me, ‘Nobody cares about what goes on in the kitchen,’” Mr. Gelb recalled confronting early in his career, when he labored to cajole the pianist Vladimir Horowitz into appearing in a documentary. It is a different landscape than the one Mr. Froemke for more than three decades, beginning with their 1985 film “Ozawa,” about the conductor Seiji Ozawa. Gelb is the rare impresario with a background in producing music films, and he has been collaborating on them with Ms. The Met, in particular, has become something of a documentary factory in recent years. A few weeks after the new Met documentary appears, “The Paris Opera,” Jean-Stéphane Bron’s film about that company’s 2015 season, will open in New York and more than 20 other American markets. In recent years there has been an explosion of opera documentaries, as filmmakers have discovered the drama that often heats up backstage when divas, maestros, impresarios and strong-willed directors are all brought together in the pressure-cooker of creating high-stakes, large-scale live performances. “Harrison looked at me, and I said, ‘Yes, of course we could do something.’” “And they said, ‘No, no, we are talking about: Is it possible to do something like that?’ “And when I brought this,” he recalls in archival footage, “Rockefeller looked, and Bing also said, ‘Well it looks very nice.’ Harrison said, ‘But it isn’t this way, don’t look at these white spots, look only at the drawing behind!’ Leski added some lines to the splatter, to make it look like refracted light. Then a splat of paint fell onto the drawing. Harrison - who was designing the new Met after his successes planning Rockefeller Center and the United Nations - was preparing a sketch on deadline to show Rockefeller and Rudolf Bing, the company’s general manager. Tad Leski, an architect who worked with Wallace K. And, for $73,924 each, replicas are available for home use. The gift shop sells scarves with their image. Operagoers relish watching them ascend to the ceiling before each performance. The Met’s crystal chandeliers, which have come to be called “sputniks” for their space-age starburst design, are among the most popular features of the theater.
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