When the first two books of Jackson's groundbreaking chronicle were published, critics hailed them variously as "historical gold" (Denver Post), "a thorough and thoroughly entertaining history" (Boston Globe), "an opera-lover's dream" (Opera News), and "an invaluable contribution to the history of recorded sound" (Gramophone). "Fascinating and thoroughly enjoyable reading" (Notes) was the verdict. In this new work, Paul Jackson expands his survey of the broadcasts by examining the decade that saw the move from the old house uptown to the technological marvel at Lincoln Center. There Rudolf Bing's final six years give way to four seasons of management turmoil until in 1976 James Levine, new to the company in 1971, is named music director and takes hold of the Met's artistic future. One hundred forty performances, beginning with the controversial opening night premiere of Barber's Antony and Cleopatra, are vividly recaptured by Jackson, a musicologist with an ability to combine narrative history with musical analysis and criticism. The legendary creations of Tebaldi and Corelli, Nilsson and Vickers, Sutherland and Tucker, of Caballe, Crespin, Price, Rysanek, Bergonzi, Gedda, and others, are explored in depth. Conductor luminaries like Bernstein, Bohm, Krips, and Karajan spell the efforts of more mortal colleagues. And Domingo and Pavarotti enter upon the scene that they will dominate for decades to come. An era of historical importance comes to life in these pages. Including almost 100 photographs (the majority courtesy of the Metropolitan Opera Archives), Start-Up at the New Met will delight both seasoned devotees of the broadcasts and new listeners.