It was my last chance to get a rush ticket for the Met Opera. And although it was tricky I really got one. Seeing Tchaikovsky’s Eugene Onegin there was a great final experience.
Rush tickets are 20$ and they are sold two hours before curtain. As I hadn’t got one on Monday arriving there right then, today I went there an hour earlier.
I sat down in the lobby to get in line as soon as it would be forming. But nothing happened. Some other people were sitting there or walking around and I thought they would be waiting as well. 15 minutes before sale would start they changed the labels at the box office Windows and I finally asked. I learned that the line is forming downstairs. I ran downstairs and found a long line of people almost in the garage. I lost my hope but joined the line. At 5:30 they directed us upstairs. When I finally was right at the windows and a clerk sent me to window C I couldn’t believe it. I received an orchestra ticket and paid 20$. Later I checked the regular price. I would have to pay 160$ for my seat.
I rushed home to get dressed and styled and Maureen told me about Nelson Mandela’s death. So sad. But I was in opera mood. I would grieve for this great man later.
Eugene Onegin is not what I would call a classic opera. It is very lyrical. I love Tchaikovsky’s music and I loved the more sentimental than dramatic arias. I missed Anna Netrebko, who had sung Tatiana in the first performances. Now it is Marina Poplavskaya, whom I had never heard of. She was not spectacular but pretty good. Spectacular to me was Rolando Villazon singing Lenski. What a voice!
The venue is not really impressive. It is a modern building, not as rich as the Semper Opera in Dresden. Stage scenery was excellent, very rich and imaginative. They apparently still can spend money on their productions. Every seat has a little monitor on the back of the front seat where texts can be shown in several languages. The opera was sung in Russian mainly, partly French.
It was interesting to see what people wear for an opera visit. Very diverse. I saw woman really dressed up in long dresses like for a formal dance, others very casual in pants, sweaters and boots and everything between it. Men alike. There were those in formal suits and others in jeans and checkered shirts. Unlike on Broadway the run for an expensive drink in the intermissions is huge. Maybe because intermissions are longer. My cava was not much cheaper than my ticket.
After three and a half hours Tatiana left Onegin behind in the falling Saint Petersburg snow and the curtain fell. Some people rushed out immediately, what I think is very unfair towards the singers. The remaining audience gave standing ovations.
When I woke up in the morning it was white outside. Not snow but New York was wrapped in a dense fog. I could not see the building on the other side of the parking lot outside my window. It cleared up a bit later but it was sure that it would not be a day for Top of the Rock.
So I did the downtown shopping I had planned for Tuesday and had a late lunch at The Meatball Shop on Stanton Street finally, imagining it would be Edek’s place (Lily Brett, You gotta have balls). I had beef balls in mushroom sauce on polenta. That’s how it works. You choose a type of balls, a sauce and a side dish. Or you can have your balls on a salad or on a sandwich. The balls were really tasty and the place is cute.
Between the meatballs and the ticket line I stopped at Columbus Circle again to look for Terry Ross, the artist who had made my big ring. I found her this time and she even remembered me. She tried to fix the problem on the spot but then said she would need more wire and didn’t have that particular one here. I left the ring with her and can pick it up on Saturday.
What I learned today:
How to get tickets for the Met Opera