I would like to point out, that exactly zero of those old school singers sang at the new metropolitan opera as well. I like this blogger for some things, but he constantly just assumes everyone is using a microphone and only the older singers are louder. The evidence isn’t there and this entire article is complete garbage. I mean, if they can’t get this right, I promise you they wouldn’t get subtle amplification in an acoustically problematic house without majorly screwing it up at least once. If anyone should complain, it’s should be about how the Met is terrible with their engineering! You can hear mic cross talk on broadcasts, the levels aren’t good, the sound isn’t balanced at all, the dynamic range is awful. Has anyone heard of scratch tapings? They happen for radio and HD broadcasts alike.

There are reasons to use microphones, and there are reasons why someone might use body mics as well, even for non HD performances. If they aren’t amplifying Juan Diego Florez, then they aren’t amplifying anyone. When amplification is used, it’s clearly obvious and with the hundreds of times I’ve been to a met performance, it’s clear to hear singers with smaller and louder voices. This particular blog article is nothing but hearsay and nothing more, no evidence. And it’s obvious because they are singing into a stand mic. 14, 17, 20 Fidelio performances, and the Nov.

The streams can be seen only live, there is no on-demand viewing, for the Oct. Like singers behind the stage and the set is in the way for an example. Virtual tickets for SF Opera’s livestreams of its new production of Beethoven’s Fidelio and Mozart’s Cos fan tutte are priced at 25, available online. And I can absolutely say without a doubt the the MET doesn’t use microphones for amplification purposes unless there is a set issue. a branch of the San Francisco Opera family that existed between 19. I have worked at the Met in many different ways and for many years. San Francisco, CA 94102-4509 (415) 864-3330.

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