Not that Gelb wouldn't love the idea of a fuller expression of the Gallery Met show's vision in the Met's productions. I think he would. But Cio-Cio-San turning into a lesbian at the end of "Madame Butterfly" and refusing to kill herself?
In a Met production? Well, one step at a time. The Met under Gelb may get there yet.
"Heroines," curated by art critic and former Vogue arts writer Dodie Kazanjian, is the Gallery Met's inaugural exhibit. The gallery, located on the south side of the opera house's lobby, opened its doors on Sept. 25, 2006 to coincide with the launch of the Met's 2006-2007 season, Gelb's first as general manager.
The subjects of the contemporary artwork from 10 artists are the heroines of the six new productions that have already been or will be staged during the Met's 2006-2007 season: Helena from Strauss' "Die Agyptische Helena"; Euridice from Gluck's "Orfeo ed Euridice"; Rosina from Rossini's "Il Barbiere di Siviglia"; Cio-Cio-San from Puccini's "Madame Butterfly"; Princess Yue-yang in from Tan Dun's "The First Emperor," which had its world premiere at the Met in December with soprano Elizabeth Futral as the princess; and the nun Suor Angelica from Puccini's "Il Trittico." Some of them, including Verne Dawson's "Euridice Orfeo" and Richard Prince's "Madame Butterfly," reflect the tension and conflict that will inevitably arise from modern interpretations of classical operas as the art form moves deeper into the 21st century. In John Currin's oil-on-canvas "Helena," (2006), a portrait of the Trojan queen, there's a lot more going on than a viewer may realize.
On the surface, the painting evokes the style of the European Old Masters. But the expression on Helena's face is utterly modern and intensely sexual. A metaphor for an art form in transition, it is the most erotic and suggestive work in the show.
A second work, David Salle's oil-on-linen "Helena at 5 a.m.," (2006) is much more explicit, with an operatic fantasia radiating from sexual touching.
The most graphic piece in the show is Richard Prince's acrylic collage of black and white girl-girl soft porn photos, "Madame Butterfly" (2006). Displayed on it is the narrative of a recurring dream: "I went to the opera. It was 'Madame Butterfly.
' I fell asleep. When I woke up the music was by Klaus Nomi and Cio-Cio-San had turned into a lesbian and refused to commit suicide. It was a German ending.
" Again, the theme of classical versus modern interpretation is clear. The narrator has obviously zoned out during a traditional staging and awakens to something far more provocative. Prince's work also brings to mind Gelb's statement in a Dec.
17, 2006 Kansas City Star story that, "The whole approach to running a grand opera house cannot be curatorial. It's about treating great operas as if they've been written yesterday, not 300 years ago." German artist Sophie von Hellermann's creamy "Rosina" (2006) is a whirling, drunken fandango featuring the besotted Count Almaviva and his love, Rosina.
Von Hellermann's other works include a wickedly good "Leading Lady" (2001). Wangechi Mutu's Dali-like 2006 "Love's a Witch, Orfeo's Underworld Coronation for Euridice," is captivating with its lovely, disembodied female legs. "Heroines" becomes an important exhibition when linked to the future course of opera, especially at the Met.
Didn't know that, did you? "Heroines." Through May 16 at the Arnold and Marie Schwartz Gallery Met, Lincoln Center, Columbus Avenue at 64th Street, New York City.
Open daily. Free admission.
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