![]() Interviews at several theaters around the country suggest that the average viewer was already familiar with opera, if not an aficionado. Did the broadcasts, as envisioned, attract people new to opera? Hard to say. ![]() Taymor’s guidance, fashioned a 100-minute version in English (down from three hours in German) as a more child-friendly production. To capitalize on that success, the Met, under Ms. The director Julie Taymor’s take on “The Magic Flute” played to sold-out houses when it was initially presented at the Metropolitan Opera in 2004. ![]() The production selected first for broadcast was in many ways the surest bet. Six of the 28 Canadian theaters were sold out, as were all of the locations showing it in Britain, as well as the theater in Norway. Forty-eight of the 60 American theaters were sold out in advance, including those in Boston Phoenix Louisville, Ky. Though the box office receipts are not all in yet, the broadcasts seemed to be a success, with an average audience capacity of 90 percent, the Met’s press office said. “The Magic Flute” played at 100 theaters, most of them scattered throughout the United States and Canada, with seven in Britain, two in Japan and one in Norway. The show was a live broadcast, in high definition, of Mozart’s “Magic Flute” at the Metropolitan Opera, the first of six productions to be broadcast from the Met through April. “And then I thought: Who am I clapping for?”īut habits die hard. “I did at the beginning too,” said Walter Perron, 88, a retired chemist who was at the Walter Reade Theater in Manhattan. ![]() They clapped between scenes and when certain characters left the screen. In movie theaters across the United States on Saturday, people did an odd thing during the main attraction: They clapped. ![]()
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