Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 41

Thus, it is clear that the audiences and the creative team alike were no slouches when it
came to knowledge about the art form itself as well as repertoire. Unlike New York
opera, the repertoire performed at the Met paid direct homage to its frequently
European creators and sought out to portray their visions in exactitude. By having the
luxury of exposure to opera abroad, the involved parties were able to have a beat on
what was popular, frequently aiding in the selections of the productions that would make
up a season (Mayer, 1983). However, the elitist nature of opera at the Met was a difficult
preconception to shake off. The company and the opera house itself was founded off of
the desire for social standing. According to Johanna Fielder, there were only 18 boxes in
existence at the original Academy of Music which would later become the Met (Fielder,
2003). The box holders themselves represented the, “ultimate symbol of social triumph.”
(Fielder, 2003). However, for the newly wealthy, this was a very difficult status to attain.
The original box holders made sure that “there was no room—or no box—for the newly
wealthy.” (Fielder, 2003). This was all good and well until the 1870s when, according to
Fielder, Mrs. William K. Vanderbilt and her 200 million dollar fortune was denied a box at
the Academy (Fielder, 2003). She, along with other members of the newly wealthy and
rising elite went on to raise a great deal of money and found the Metropolitan Opera, at
the aforementioned address of 1423 Broadway (Fielder, 2003). When the company
was established, wealth was very much a factor in both the board of directors—which
were later deemed the “Metropolitan Opera Real Estate Company”— as well as the
overall experience provided (Fielder, 2003). Business and creative directors of the
company had:
10