Arron added, "for the first show of a run, the orchestra stays in the pit for the bows." It is partly to show appreciation of the singers but also for the benefit of the audience and the critics.įrom dress to choreographed movements and the courtly interplay between conductor and musicians, the classical music stage is rich in etiquette and sometimes hijinks that are not always obvious to the audience. As it turns out, it is tradition at the Met for the orchestra to stand and applaud the first performance of an opera during the season. "The orchestra was very fond of the conductor, and they were rallying around Gruber," said Ronald Arron, a violist in the orchestra that night last month.Īppreciation, maybe, but spontaneous, no. To the untrained eye, it might have looked like a spontaneous show of appreciation for the cast or maybe the conductor, Bertrand de Billy or maybe Andrea Gruber, the Turandot, who recently made a comeback from an addiction to painkillers. Usually, the players are out of the door before the audience members, even beating them to the bus stop. Some of that applause was coming from the musicians in the pit, who stood clapping or tapping their bows on music stands. THE curtain had fallen on opening night at the Metropolitan Opera's revival of its lavish production of "Turandot," and the cast was basking in applause.
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