So the Metropolitan Opera’s radio broadcasts are endangered. That is sad news, writes John Rockwell. But along with the many benefits the broadcasts have produced, they have also distorted Americans’ sense of (and taste for) opera. Onne might suggest that “millions of American opera lovers have been tilted toward a perception of opera as a voice-driven auditory experience. For them, the best stage production is imaginary: it doesn’t so much adhere to the intentions of the composer as remain neutrally compatible with a listener’s own made-up stage pictures. And in the comfortable confines of the home or the car, the music is usually heard without libretto or titles, as a sensual experience in melody, harmony and a foreign tongue.”