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Here is the most recent CHEKHOV & ME which features Paul Cremo, Dramaturg and Director of New Work Commissioning at The Metropolitan Opera. Paul delivers a delightful meditation on classical music and Chekhov, examining the similar impulses behind both artforms. (Who knew Chekhov and Tchaikovsky were great friends?) It’s a beautiful address; please enjoy it.

PAUL CREMO is the Dramaturg and Director of the Opera Commissioning Program at The Metropolitan Opera.  This Program is a co-venture with Lincoln Center Theater and is dedicated to developing new opera and music theater works through workshops and one on one consultation with composers and librettists.  The first project to result from this program, Two Boys, by Nico Muhly and Craig Lucas, will premiere at the Met in 2013, following its world premiere at the English National Opera in 2011.  Paul oversaw the development and production of The Enchanted Island, a Baroque pastiche created by Jeremy Sams which premiered at the Met in 2011, and is currently developing several new operas and new productions of existing works for the Met.  Paul is a writer and creative executive who has been involved in the development of film, theater, television, book and recording projects for over twenty years. He was Vice President of A&R for Sony Classical/Sony Masterworks, where he oversaw acquisition and development of film soundtracks and cast albums and was Executive Producer of the Grammy Award-winning documentary Recording The Producers: A Musical Romp with Mel Brooks. He was Director of Development for Sony Classical Film and Video and for Spring Creek Productions at Warner Bros.  He has served as a freelance script editor and story consultant and has been an advisor to the Sundance Theater Institute and Brooklyn’s BRIC Media/Arts Fireworks Residency Program.

One Response to “Chekhov & Me: Paul Cremo, Director of New Work, The Metropolitan Opera”

  1. dr. robin levenson says:

    I greatly enjoyed your talks, online. I’ve written a book about Chekhov myself, ACTING IN TRANSLATION, about the actor’s approach to Chekhov, and comparing many of the 125 English translations of Chekhov’s last 4 plays. It’s about how language in the play translations affect the actor’s work; so of course I was thrilled to see Annie Baker’s take on the play.
    YOur production was so “real,” even hyper-real, for our small audience, we felt we were (as we actually were) in the room with them; I would have given a lot to be a fly on the wall at your rehearsals, to see how the play developed in this particular space.
    Yes, as Cremo notes, the sense of ensemble is palpable in this show. I hope you taped it. I wish it played even longer. Sonia was searing, in one of the most difficult roles in modern drama, and the shooting scene with Vanya was different than any I have seen, in a world of Vanya’s in my experience.

    THANK_YOU! (Do you ever need a dramaturg? I’d be honored to work with you.)
    In a season where you performed in the same summer with the Australian (Kate Blanchette) Vanya, we’ve had a summer of riches unimaginable with regard to Chekhov’s works. It would be fascinating to see more of Chekhov’s works performed in your repertory.
    Sincerely,
    Robin

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