The Bavarian State Opera dropped her as well. A noted Putin pal, she’s been posting statements to Instagram that attempt to not take a side, and has already withdrawn from her performance at the Zurich Opera House. This ban is likely to impact Anna Netrebko, the Russian diva who is thought of as the Met’s biggest star and is set to play the title role in Puccini’s Turandot in April.
And yesterday morning, he had the idea of giving Buialskyi center stage. He keeps his promises.”) Now, Gelb has, at least for now, severed all ties with the Bolshoi, and therefore Urin, too, despite his personal stances. (Last fall, while I was writing about the Met, Urin told me that working with Gelb “is sheer pleasure. His counterpart at the Bolshoi, Vladimir Urin, was one of a number of Russian artists to sign a letter of opposition to the war. “The Russian people I was with, nobody thought this would happen,” says Gelb. Gelb took one of the last flights out of Moscow before heavy sanctions and European airspace bans went into effect. Gelb’s wife, the conductor Keri-Lynn Wilson, often performs in Russia and was due to conduct in Odessa, Ukraine, next week. “We’re not going to be working with any artists who are supporting Putin or who Putin supports,” Gelb says.īut who does that mean, exactly? Artistic connections between Russia and the rest of the opera and classical worlds run deep - and for Gelb and the Met in particular.
“Nobody wants this war except for Putin, and the Russian artists are all collateral damage,” says Peter Gelb, who runs the Met, and was himself in Moscow only hours before the invasion commenced, checking in on a production of Wagner’s Lohengrin that his opera house has been producing in collaboration with the Bolshoi Theater. Indeed, as Vladimir Putin presses on, an unprecedented backlash from the world’s artistic and cultural elite has crescendoed.
“Yesterday was maybe the most emotional moment of my life,” he says, “because I feel that not only me, but all my country, understands that the whole world supports us.” Instead, he was standing center stage with his hand over his heart as the Met’s chorus and orchestra played the Ukrainian national anthem for an entire opera house on its feet. When the Sputnik chandeliers ascended, Vlad was not in the role of the Flemish deputy in Verdi’s Don Carlos, for which he had rehearsed. Vlad’s mind, however, was 5,000 miles east in Ukraine, with his friends and family in Berdyansk, a port on the sea of Azov. Last night, the 24-year-old bass-baritone Vladylsav Buialskyi made his debut at the Metropolitan Opera.
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