Notes from Peter Gelb

Peter Gelb, whose 1-year-old tenure as the Met's general manager has been analyzed far too much already, met with arts journalists from around the country a few weeks ago. While the NEA Arts Journalism program insists that these conversations are off the record, I'm not convinced Gelb even knew who we were -- he seemed puzzled when he came out into his reception room and found us all there -- and he shared no great trade secrets. (No minor ones, either.) But his comments give more insight into how he regards his mission:

Regarding the New Yorker profile by Rebecca Mead, which was in print that week: "It was a very good article for the Met and very flattering to me, so I'm not going to complain about it."

About the New York City Opera's incoming artistic director, Gerard Mortier: "I've known Gerard for many years. He's a very interesting, bright director ... it's good for opera and good for the Met to have stimulating things happening" just across the Lincoln Center plaza.

New works: "We have a commisioning program and a very ambitious program with Lincoln Center" to match 10 top composers with 10 top dramaticsts to produce new works.

"One of the things I decided to do (when he first arrived) was to put on major contemporary works on an annual basis." As in Glass' "Satyagraha," one of seven new productions this year.

About the popularity of the Met's "HD Live" simulcasts in movie theaters around the country, including two in the Twin Cities: "I was surprised at how surprised people were (at their success). Many people thought they would not work at all." The live simulcasts are "an audience development tool ... an enticement to want to go to the Met or to your local opera company."

Regarding guest conductors: The Met has infrequently showcased major conductors aside from James Levine in recent years. "I gave a mandate to myself to bring the greatest conductors in the world to the Met."

The challenge ahead: "The Met got the idea (in recent years) that it was sold out on a regular basis and so it didn't need to reach out beyond what it was doing. I believe opera will die and the Met will fail if we don't take a more proactive approach on all fronts."