Metropolitan Opera
Metropolitanopera@metopera.org
Attn: Peter Sellars, Peter Gelb, Nicole Halton, Susan Hayes
To the Staff of the Metropolitan Opera:
During World War II, a violinist dressed in military uniform went to play for the servicemen in a United States Army hospital in Italy. As he entered a ward designated for young men who had recently lost limbs, he was shocked to see that one patient was attempting to applaud with his only hand. As the musicians face lit up with compassion and sensitivity, he raised his violin and played. His name was Jascha Heifetz, a Lithuanian-born Jewish American whose 65-year career began at age four. He made his Carnegie Hall debut at age 16, and became world renowned for the perfection to which other violinists still aspire.
Seated next to Heifetz at the hospital piano was pianist Milton Kaye. Fifty years later, Kaye recalled that memorable concert when he heard the greatest violinist of the ages. The following year, pianist Seymour Lipkin beheld that same magnificence when he accompanied Heifetz on another GI tour, stating that the violinist always played his best, no matter the circumstances. Heifetz had been so moved when he entertained the paraplegics, that despite his grueling schedule, he continued to add more such concerts to his tours, and Kaye remembers those days as the greatest privilege of his musical life.
In addition to an unparalleled talent, Heifetz had what is known as neshamah, a Jewish soul what may be described as an energy and essence of virtue and humanity, passion and compassion, and depth of empathy for others. It was even apparent to his father who saw the four-year-old prodigy cry when he played sad music. No doubt, it is the Israeli neshamah that provides quality medical attention even to their enemies, and the same that sends Israeli first responders to countries devastated by natural disasters. And it is this same quality that appears to have eluded the next generation of Heifetzes,– Jaschas great nephew, Peter Gelb, artistic director at the Metropolitan Opera (The Met).
It was said of Gelb that he declares himself a man of the people, but that he is out of touch with the prevailing zeitgeist (culture of the time). Noted in the Berkshire Fine Arts, Gelb lacks the qualifications to organize a program and appoint or audition singers and, despite his inexpertise, captured this Met position from the ailing James Levine. But it is Gelbs choice of opera for the 2014 fall season that is most disturbing.