Two ballerinas thoughtfully gazing out of studio window while standing on sill in rehearsal room at George Balanchine's School of American Ballet
Alfred Eisenstaedt, “The American Ballet,” Life, December 28, 1936
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Portrait of soprano Reri Grist as Rosina in Rossini's opera, "The Barber of Seville." Printed on front: "Louis Melancon. Metropolitan Opera House, New York City." Louis Melancon, New York, N.Y." Label on back: "Metropolitan Opera Assn., Inc. Press Dept. Reri Grist as Rosina in Rossini's 'Il barbiere di Siviglia.'"
E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library
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Abelardo Morell. The Metropolitan Opera, Romeo and Juliet Set. 2005
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Life cover from December 28, 1936 featuring members of the Metropolitan Opera's ballet company practicing. This company, called the American Ballet, eventually morphed into the New York City Ballet.
Photo: Alfred Eisenstaedt via Life magazine Instagram
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Ballet dancer by de Meyer
Adolf de Meyer (1868–1946) ~ Ballet dancer, ca. 1910s | src Christie’s
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Baron Adolph de Meyer (1868–1946) ~ Ballet dancer, ca. 1910–1920 (detail)
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Maria Callas in her dressing room at the Metropolitan Opera House, November 1956
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(via The Grim Gallery: Exhibit 4547)
John Relyea and Renée Fleming in the 2017 Metropolitan Opera production of Anton Dvorák's Rusalka
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New York’s original Metropolitan Opera House opened on October 22, 1883. #OnThisDay
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THOMAS: Hamlet | Act 5: Ophélie!
Metropolitan Opera, 2010
Marlis PETERSEN as Ophélie
Simon KEENLYSIDE as Hamlet
OPERA IN HISTORY - March 9
On this day in 1868, Thomas’ grand opera, based on a french adaptation of William Shakespeare’s eponymous play, premiered at the Paris Opéra.
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In honor of the Met announcing their 2023-2024 season today.
For @leporellian.
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View of mezzo-soprano Maria Ewing as Carmen and Luis Lima as Don Jose in Bizet's opera, "Carmen." Label on back: "Press Department, Metropolitan Opera, Lincoln Center, New York City 10023. Luis Lima as Don Jose and Maria Ewing as Carmen in the final act of Bizet's 'Carmen.'"
E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library
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I swear that Peter J. Hall, who designed the costumes for Franco Zeffirelli's iconic Metropolitan Opera production of La Bohéme, must have seen this Little Women illustration by Jessie Wilcox Smith. It must have reminded him of Musetta and Mimí in the opera, because the dress he designed for Musetta in the last act looks almost identical to Jo's dress in this drawing.
Meanwhile, all three of Mimí's dresses are blue, even though none of them look quite like Beth's dress.
Even though Musetta has nothing in common with Jo apart from being feisty and hot-tempered (Jo would rather die than try to be sexy or flirty), the parallel of a fiery girl who reveals her tender and nurturing side by caring for a quieter, gentler, terminally ill girl still seems to have inspired the designer. The fact that Beth is sewing in that illustration, which is what Mimí does for a living, probably helped too.
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Two divas meet: Marlene Dietrich congratulates Maria Callas backstage at the Metropolitan Opera on October 29, 1956, after Callas made her debut in Norma. Between them is her husband, Batista Meneghini.
Photo: Tom Fitzsimmons for the AP
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Stereo Review Magazine - January 1973.
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