Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 55

2003). Many of these possibilities would come with Levine at the creative forefront of
the company. However, the appointment of Joseph Gelb as the general manager of the
company likely helped a great deal—bringing ease to the executive turbulence the
company had found themselves in since Rudolf Bing’s retirement in 1972 (Fielder,
2003).
Despite famously lacking social skills and having a lukewarm relationship with
Levine, Volpe’s administrative abilities were difficult to discount (Fielder, 2003). Despite
whatever social skills he is believed to have lacked, Volpe managed to bring out the
best in his performers. Fielder writes that he, “…was far more understanding of a singer
like Luciano Pavarotti,” who was notoriously difficult to work with (Fielder, 2003).
Additionally, Volpe’s tenure as general manager is able to boast more than a few world
premieres and further acquisition of young singers when, “the opera world became
obsessed with finding a young tenor to replace the aging stars.” (Fielder, 2003). From
the start of Volpe era in the Met, the company was, “in an enviable position, its
performances selling out on a regular basis, its budget balanced, critics praising the
company’s artistic standards and adventurous new repertoire.” (Fielder, 2003).
However, much like with NYCO, September 11, 2001 presented a unique situation for
the Met. Despite any setbacks, the Volpe chose to push on, “putting on a full schedule
of rehearsals” the morning after the terror attacks (Fielder, 2003). Additionally, “Volpe
and the Metropolitan Opera Company presented a sold-out, pre-opening night benefit in
the theatre that raised more than $2.5 million for the victims of the World Trade Center
disaster.” (Fielder, 2003).
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