Opera Front and Center at the Super Bowl

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Feb. 3 (Bloomberg) –- The Metropolitan Opera General Manager Peter Gelb discusses how Renee Fleming’s performance at the Super Bowl will impact the artform and expand the audience with Trish Regan on Bloomberg Television’s “Street Smart.” (Source: Bloomberg)

How did this come about?

How did it happen?

And why did it take so long for football to bring in an opera singer?

That is a question you would probably have to ask the nfl, but we were obviously delighted to have such a great star representing the world of opera in the super bowl.

If a small percentage of those 11 million viewers come to the opera house, we will be very happy.

Is a big part of opera success, keeping it relevant, bringing in the younger generation.

How does what we saw last night held to contribute to that?

-- helped to contribute to that?

This is my eighth season running the met right now.

I have been trying to think of many ways to make opera more successful and bring it to as many people as possible.

We transmit them into movie theaters live in 64 countries.

This coming saturday we are doing it.

In fact what, 2000 theaters around the world?

Where you can watch live opera being broadcast?

That is one step in the right direction.

It you have done things like update reductions?

That is right.

We are trying to bring the top stage directors and designers from around the world, from broadway and the west end, from anywhere to present opera in a way that is compelling and relevant for a 21st-century audience so that people going to see it will like it.

One of the most amazing things about the met is the scope of your season.

3800 people, seven shows a week.

Different ones, by the way.

That many people in new york?

Who are willing to spend on average $156 for an opera ticket?

It is a struggle to keep opera popular, but it is definitely necessary for us not to lower our guard.

People do come to the opera.

Most opera lovers come to more than one show per year.

By offering a wide variety, with the world's greatest singers, that makes it possible for local lovers and those around the world to check them out.

How do you get the next generation to care?

I was just in milan over the weekend and was fortunate enough to see an opera there.

One of my friends remarked that we might easy on -- the only people under 80 in the audience.

But it is a concern, internationally.

It is an older demographic.

We have to make it compelling, theatrically, obviously.

We do not expect every young person in the world to get on their bicycle and ride to the opera house, but the fact of the matter is that if people give opera a chance, if we do our job properly and present these brave singers who sing without amplification, without microphones, in front of an audience of 3800 people in the house of the met, hundreds of thousands more, millions with radio, it is an incredibly exciting artform when it all comes together, it has everything.

Music, theater, scenery.

We are bringing the most dynamic people in the world to the stage.

The problem with it, the challenge, is that it is long.

They are in foreign languages.

If we can succeed the way that a great foreign films succeeds -- we have to have an audience that is willing to invest a little bit, intellectually, but there are great rewards.

I guess they did have a producer.

This text has been automatically generated. It may not be 100% accurate.

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