Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 54

establishment of the Met’s current location at Lincoln Center in 1966, which came as a
result of negotiations between the company’s board and that of the New York
Philharmonic Orchestra (Fielder, 2003). Bing’s retirement in 1972, unlike most of which
we’ve seen thus far, did not present the company with any large steps back and instead
seemingly inspired further pursuit of excellence.
Perhaps the most vibrant figure to emerge in the Met at this time was the
principal conductor and later artistic director, James Levine (Fielder, 2003). Levine to
this day has held a great deal of creative influence over the company and its
productions, serving as a beacon artistic director and a sublime conductor. Levine will
retire at the end of the 2016 season at the Met, a testament to his devotion to the
company (Metropolitan Opera). At a time when the general management of the
company was frequently changing after the departure of Bing, Levine likely provided the
steadfast current needed to propel the Met forward. Levine’s appointment as artistic
director in 1983 served as a period of diversity for the Met, both in performances and
performers. Levine chose to push the repertoire boundaries that had existed for many
years and reach into the 20th century for new work (Fielder, 2003). Additionally, with the
addition of vocalists like soprano, Kathleen Battle, the Met also began to bring greater
racial diversity to its performances which was previously catalyzed by Rudolf Bing.
During this period of Levine’s “ascendence,” as Fielder calls it, the Met itself was on an
emotional high point with its Centennial season being celebrated in 1983 and numerous
possibilities on the horizon (Fielder, 2003). It is during this time that many of the most
recognizable operatic achievements come about, such as the bringing together of
Pavarotti, Domingo, and Carreras to form the celebrated “Three Tenors.” (Fielder,
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