UN BALLO IN MASCHERA:Verdi
Lewis; Morell, Ross, Merrill, Peters, Forrester
Original Air Date: 12/06/1975
SID.20150425
Merrill who had a virtual lock on Renato for two decades (one broadcast to Milnes) is still in decent form for his final season. The rest of the cast is not ideal. I saw Elinor Ross several times in Philadelphia, and while it was not an especially beautiful voice she could be a notable Gioconda and Turandot, and her video Norma from Germany with Del Monaco is well up to the task. Amelia is another matter, but paired with Morrell, this is not the afternoon for glorious Verdi. Forrester has a very distinguished concert career, but she’s wrong for Ulrica at the Met. It’s too late for Peters as Oscar — she’s very good in 1955. This is Merrill’s final broadcast (he has three farewell Germonts with Moffo which constitute the final operatic appearance for both at the Met. My memory of this performance is not especially positive. Elinor Ross was a fine singer. I saw her a decade earlier in Philadelphia with an excellent Gioconda, Aida, and Turandot. She also has on Youtube a mostly complete Norma with Del Monaco from Germany. She is well up to the competition there. This is I think a bit late. For Merrlll’s Renato I strongly recommend 2 of his earlier Renatos from 1963 (with Nilsson and Tucker) and 1966 (with Price and Bergonzi). Lewis is not an inspiring conductor for me.
ALCESTE:Gluck
Panizza; Bamptom, Maison, Warren
Original Air Date: 03/08/1941
SID.20150426
This is one of the few 1940s broadcasts that gets to Sirius, but neither the 1952 with Flagstad, nor the 1961 with Farrell (both in English) have made it to Sirius. Again, it seems the translation is inhibiting their inclusion. Review of Pitts Sanborn in the World-Telegraph, Mme. Bampton Sings Role of Alceste – Following the present method of frequently changing the allotment of prominent roles, the Metropolitan management offered its third Alceste last evening with a new representative of the name part. After the fiery magnificence of Marjorie Lawrence as Alcestis came the lyric charm of Rose Bampton. Comely, tall and statuesque, Mme. Bampton showed in her carefully studied poses and gestures what pains she had taken to portray the self-sacrificing heroine persuasively to the eye. And in her singing tenderness and pathos found touching expression. Since this was only Mme. Bampton’s first assumption of an inexorably exacting role, we may look for further development later on of its more cogently dramatic aspects. Her voice seems now, under sympathetic guidance, to have found a congenial lyric field. Her tones were often of delightful quality last evening, her phrasing was marked by grace and fine taste and there was always the thought of the accomplished musician. Altogether, Mme. Bampton may be congratulated cordially on her present achievement, which holds the promise of even better things to come. Once more Rene Maison supplied an admirable Admetus. Francesco Valentino replaced the indisposed Leonard Warren as the High Priest of Apollo, singing well apart from an excessive vibrato. The beauty of the tableau at the end of Act II made up in part for the pinchbeck naiveties that met the eye.
LES CONTES D’HOFFMANN:Offenbach
Varviso; Alexander, Dooley, Scovotti, Cvejic, Amara, Martin
Original Air Date: 02/27/1965
SID.20150427
This performance goes back to the old house, and has the distinction of being John Alexander’s only broadcast Hoffmann. His career is distinguished by regularly being asked for by the biggest named sopranos in the world–Beverly Sills, Montserrat Caballe, Renata Tebaldi, Leontyne Price, and a repertory that was as comfortable in Mozart and the French, as he was in German (Walther and Bacchus among his roles) and Italian. He was a bit like Alberto Remedios, but with more coloratura flexibility; both with sweet voices that could cope with roles that often defeated less technically secure colleagues. Antonia is one of Amara’s best parts.
SUSANNAH:Floyd
Conlon; Fleming, Hadley, Ramey
Original Air Date: 04/03/1999
MOD Audio
SID.20150428
This is the Met’s only broadcast of Susannah, and finds all three principals on especially fine form. Even without the visual appeal, the opera makes an impact from the music alone. This was a highly successful Met repertory debut for the Carlisle Floyd opera and both Fleming and Ramey are extremely well cast. Conlon is very committed to the work, and it is a contemporary work that works almost as well in audio only as in the theatre with its sure-fire theatrics. One of the best efforts of the Met for both American and contemporary opera. This is one of Fleming’s very best outings, and Ramey and Hadley are well cast as well. One of the better 20th century American operas.
MANON LESCAUT:Puccini
Adler; Kirsten, Alexander, Walker, Michalski
Original Air Date: 03/08/1975
SID.20150429
Kirsten replaced Leontyne Price on this broadcast. She is thoroughly professional even if she is 65 years old!!!!! Her first broadcast is 26 years earlier when she was pushing 40. Better to hear that with Bjorling. Highly recommended but still omitted from the Sirius Manon Lescaut sweepstakes are the Tebaldi-Tucker from 1959 and the Kirsten Bergonzi from 1960 (Kirsten replacing Stella) This is a rare broadcast, but it IS possible to find
, 
I PURITANI:Bellini
Bonynge; Gruberova, Merritt, Gavanelli, Plishka
Original Air Date: 03/30/1991
MOD Audio
SID.20150430
This is primarily for Gruberova fans. She doesn’t sing in USA much so just as well since she only has two Met broadcasts, this Puritani and Zerbinetta in Ariadne auf Naxos. Of greater interest would be her Queen of the Night (Met debut) and the new production of Traviata with Kleiber and Shicoff (neither broadcast; in today’s world of live Sirius, we would likely be hearing both)
PARSIFAL:Wagner
Original Air Date: 03/02/2013 Live in HD SID.20150431
Conductor……………Daniele Gatti
Parsifal…………….Jonas Kaufmann
Kundry………………Katarina Dalayman
Amfortas…………….Peter Mattei
Gurnemanz……………René Pape
Klingsor…………….Evgeny Nikitin
Titurel……………..Rúni Brattaberg
Voice……………….Maria Zifchak
First Esquire………..Jennifer Forni
Second Esquire……….Lauren McNeese
Third Esquire………..Andrew Stenson
Fourth Esquire……….Mario Chang
First Knight…………Mark Schowalter
Second Knight………..Ryan Speedo Green
Flower Maidens: Kiera Duffy, Lei Xu, Irene Roberts, Haeran Hong, Katherine Whyte, Heather Johnson
Production…………..François Girard
Set Designer…………Michael Levine
Costume Designer……..Thibault Vancraenenbroeck
Lighting Designer…….David Finn
Video Designer……….Peter Flaherty
Choreographer………..Carolyn Choa
Dramaturg……………Serge Lamothe
TV Director………….Barbara Willis Sweete
ELEKTRA:Strauss
Böhm; Nilsson, Rysanek, Madeira, Stewart, Nagy
Original Air Date: 02/27/1971
MOD Audio
SID.20150432
This performance marks Madeira’s Met farewell, and reveals some of the vocal weakness that is surely partly resultant from her illness and death a little more than a year later. The rest of the cast, and especially Bohm are white hot. For Madeira at her best, go to the Bohm studio with Inge Borkh as Elektra. A very satisfying recording on all counts.
RIGOLETTO:Verdi
Cleva; Merrill, Peters, Tucker, Giaiotti, Dunn
Original Air Date: 02/22/1964
MOD Audio
SID.20150533
Amazingly Merrill (debut 1946) and Tucker (debut 1945) are also around eight years later in 1972 for them sharing their final Rigoletto broadcast. Peters who sang Gilda at the Met as late as 1985 did not broadcast it after 1967. Dunn,Giaiotti, and Macurdy are outstandingly strong support. 1/16/12 – This has recently been released in the Sony Historic Broadcasts. All of the singers are fine, and the technical command of these full voiced singers could teach some more lyric singers the art of bel canto. Giaiotti was a stalwart of the Met bass contingent in the 60s, 70s, 80s. Giaiotti also has one broadcast Monterone which also includes Dunn, and MacNeil in his first Rigoletto broadcast. This has not been on Sirius and I would love to hear it. The performance is also on MetPlayer.
UN BALLO IN MASCHERA:Verdi
Lewis; Morell, Ross, Merrill, Peters, Forrester
Original Air Date: 12/06/1975
SID.20150534
Merrill who had a virtual lock on Renato for two decades (one broadcast to Milnes) is still in decent form for his final season. The rest of the cast is not ideal. I saw Elinor Ross several times in Philadelphia, and while it was not an especially beautiful voice she could be a notable Gioconda and Turandot, and her video Norma from Germany with Del Monaco is well up to the task. Amelia is another matter, but paired with Morrell, this is not the afternoon for glorious Verdi. Forrester has a very distinguished concert career, but she’s wrong for Ulrica at the Met. It’s too late for Peters as Oscar — she’s very good in 1955. This is Merrill’s final broadcast (he has three farewell Germonts with Moffo which constitute the final operatic appearance for both at the Met. My memory of this performance is not especially positive. Elinor Ross was a fine singer. I saw her a decade earlier in Philadelphia with an excellent Gioconda, Aida, and Turandot. She also has on Youtube a mostly complete Norma with Del Monaco from Germany. She is well up to the competition there. This is I think a bit late. For Merrlll’s Renato I strongly recommend 2 of his earlier Renatos from 1963 (with Nilsson and Tucker) and 1966 (with Price and Bergonzi). Lewis is not an inspiring conductor for me.
DIE ZAUBERFLÖTE:Mozart
Levine; Battle, Araiza, Hemm, Serra, Moll
Original Air Date: 02/09/1991
SID.20150535
This is the simultaneous broadcast/telecast of the new David Hockney production (based on a Glyndebourne original). The video has been on DVD also. Serra’s tone is a bit white, but very accurate, and the overall casting is of high quality.
LE SACRE DU PRINTEMPS / LE ROSSIGNOL / OEDIPUS REX:Stravinsky
Gergiev; Trifonova, Banks, Zifchak / Forbis, Blythe, Nikitin
Original Air Date: 02/21/2004
SID.20150536
The Stravinsky evening as originally done by Levine with Hockney designs and Dexter direction was not as big a hit as the French evening, Parade, from Dexter and Hockney, but I prefer this to Rake’s Progress. Gergiev has a distinctive take on Stravinsky and always worth a listen in the Russian repertoire.
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150537
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.
MOSES UND ARON:Schoenberg
Levine; Tomlinson, Langridge
Original Air Date: 12/20/2003
SID.20150641
This performance was issued in Levine’s 40th anniversary CD box, and is also available in MOoD. This performance is well regarded.Both the MOoD and the CD issued in the Levine 40th anniversary CD box are from the first Met season of MuA in 1999. Both performances have been on Sirius, and here is the 2003 again.
DIE FLEDERMAUS:Strauss Jr.
Ormandy & Blatt; Resnik, Kullman, Munsel, Sullivan, Thebom, Brownlee
Original Air Date: 12/22/1951
SID.20150642
This is the second season of the hit Fledermaus production, and while I never cared much for Resnik’s soprano outings, she’s an improvement on Piazza. Ormandy comes back for this, but leaves the third act to a repetiteur as he had a Saturday night in Philadelphia with his Orchestra and his real bread and butter. Munsel is still the real star. Brownlee was in practically every Fledermaus until he left the Met.
,
I PURITANI:Bellini
Bonynge; Gruberova, Merritt, Gavanelli, Plishka
Original Air Date: 03/30/1991
MOD Audio
SID.20150643
This is primarily for Gruberova fans. She doesn’t sing in USA much so just as well since she only has two Met broadcasts, this Puritani and Zerbinetta in Ariadne auf Naxos. Of greater interest would be her Queen of the Night (Met debut) and the new production of Traviata with Kleiber and Shicoff (neither broadcast; in today’s world of live Sirius, we would likely be hearing both)
SUSANNAH:Floyd
Conlon; Fleming, Hadley, Ramey
Original Air Date: 04/03/1999
MOD Audio
SID.20150645
This is the Met’s only broadcast of Susannah, and finds all three principals on especially fine form. Even without the visual appeal, the opera makes an impact from the music alone. This was a highly successful Met repertory debut for the Carlisle Floyd opera and both Fleming and Ramey are extremely well cast. Conlon is very committed to the work, and it is a contemporary work that works almost as well in audio only as in the theatre with its sure-fire theatrics. One of the best efforts of the Met for both American and contemporary opera. This is one of Fleming’s very best outings, and Ramey and Hadley are well cast as well. One of the better 20th century American operas.
DON PASQUALE:Donizetti
Original Air Date: 11/13/2010 Live in HD SID.20150646
Don Pasquale…………John Del Carlo
Norina………………Anna Netrebko
Ernesto……………..Matthew Polenzani
Dr. Malatesta………..Mariusz Kwiecien
Notary………………Bernard Fitch
Conductor……………James Levine
Production…………..Otto Schenk
Designer…………….Rolf Langenfass
Lighting designer…….Duane Schuler
TV Director………….Gary Halvorson
This season Don Pasquale was performed with one intermission, between Acts II and III
The Met: Live in HD series is made possible by a gift of its founding sponsor, the Neubauer Family Foundation Bloomberg is the global corporate sponsor of The Met: Live in HD.
MANON LESCAUT:Puccini
Adler; Kirsten, Alexander, Walker, Michalski
Original Air Date: 03/08/1975
SID.20150647
Kirsten replaced Leontyne Price on this broadcast. She is thoroughly professional even if she is 65 years old!!!!! Her first broadcast is 26 years earlier when she was pushing 40. Better to hear that with Bjorling. Highly recommended but still omitted from the Sirius Manon Lescaut sweepstakes are the Tebaldi-Tucker from 1959 and the Kirsten Bergonzi from 1960 (Kirsten replacing Stella) This is a rare broadcast, but it IS possible to find
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150648
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.
ELEKTRA:Strauss
Böhm; Nilsson, Rysanek, Madeira, Stewart, Nagy
Original Air Date: 02/27/1971
MOD Audio
SID.20150749
This performance marks Madeira’s Met farewell, and reveals some of the vocal weakness that is surely partly resultant from her illness and death a little more than a year later. The rest of the cast, and especially Bohm are white hot. For Madeira at her best, go to the Bohm studio with Inge Borkh as Elektra. A very satisfying recording on all counts.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 02/11/1967
SID.20150750
HIghly recommended. This is the first of Vickers’ four broadcast Peter Grimes and the partnership with Colin Davis yields some first-rate music making. It is the first broadcast by Vickers in the new production from the Lincoln Center Met’s first season. Colin Davis only has four broadcasts from the Met (two Grimes, Wozzeck, Pelleas) and he and Vickers contributed memorable performances on both sides of the Atlantic. This is the third performance of the Vickers/Davis/Guthrie 1967 production which added a great role to Vickers’ gallery of overwhelming portrayals. While Britten was reportedly none too pleased with Vickers’ approach, the royalty coffers were greatly enriched by Vickers performances around the world which put Grimes solidly into mainstream repertory. There is a commercial video from Covent Garden (with Davis conducting as well) which is highly recommended in addition to this broadcast. Two years later the exact same cast broadcasts it again and this second broadcast of the Guthrie/Davis/Vickers Grimes is on MOoD.
ALCESTE:Gluck
Panizza; Bamptom, Maison, Warren
Original Air Date: 03/08/1941
SID.20150751
This is one of the few 1940s broadcasts that gets to Sirius, but neither the 1952 with Flagstad, nor the 1961 with Farrell (both in English) have made it to Sirius. Again, it seems the translation is inhibiting their inclusion. Review of Pitts Sanborn in the World-Telegraph, Mme. Bampton Sings Role of Alceste – Following the present method of frequently changing the allotment of prominent roles, the Metropolitan management offered its third Alceste last evening with a new representative of the name part. After the fiery magnificence of Marjorie Lawrence as Alcestis came the lyric charm of Rose Bampton. Comely, tall and statuesque, Mme. Bampton showed in her carefully studied poses and gestures what pains she had taken to portray the self-sacrificing heroine persuasively to the eye. And in her singing tenderness and pathos found touching expression. Since this was only Mme. Bampton’s first assumption of an inexorably exacting role, we may look for further development later on of its more cogently dramatic aspects. Her voice seems now, under sympathetic guidance, to have found a congenial lyric field. Her tones were often of delightful quality last evening, her phrasing was marked by grace and fine taste and there was always the thought of the accomplished musician. Altogether, Mme. Bampton may be congratulated cordially on her present achievement, which holds the promise of even better things to come. Once more Rene Maison supplied an admirable Admetus. Francesco Valentino replaced the indisposed Leonard Warren as the High Priest of Apollo, singing well apart from an excessive vibrato. The beauty of the tableau at the end of Act II made up in part for the pinchbeck naiveties that met the eye.
DIE ZAUBERFLÖTE:Mozart
Levine; Battle, Araiza, Hemm, Serra, Moll
Original Air Date: 02/09/1991
SID.20150752
This is the simultaneous broadcast/telecast of the new David Hockney production (based on a Glyndebourne original). The video has been on DVD also. Serra’s tone is a bit white, but very accurate, and the overall casting is of high quality.
LES CONTES D’HOFFMANN:Offenbach
Varviso; Alexander, Dooley, Scovotti, Cvejic, Amara, Martin
Original Air Date: 02/27/1965
SID.20150753
This performance goes back to the old house, and has the distinction of being John Alexander’s only broadcast Hoffmann. His career is distinguished by regularly being asked for by the biggest named sopranos in the world–Beverly Sills, Montserrat Caballe, Renata Tebaldi, Leontyne Price, and a repertory that was as comfortable in Mozart and the French, as he was in German (Walther and Bacchus among his roles) and Italian. He was a bit like Alberto Remedios, but with more coloratura flexibility; both with sweet voices that could cope with roles that often defeated less technically secure colleagues. Antonia is one of Amara’s best parts.
UN BALLO IN MASCHERA:Verdi
Lewis; Morell, Ross, Merrill, Peters, Forrester
Original Air Date: 12/06/1975
SID.20150755
Merrill who had a virtual lock on Renato for two decades (one broadcast to Milnes) is still in decent form for his final season. The rest of the cast is not ideal. I saw Elinor Ross several times in Philadelphia, and while it was not an especially beautiful voice she could be a notable Gioconda and Turandot, and her video Norma from Germany with Del Monaco is well up to the task. Amelia is another matter, but paired with Morrell, this is not the afternoon for glorious Verdi. Forrester has a very distinguished concert career, but she’s wrong for Ulrica at the Met. It’s too late for Peters as Oscar — she’s very good in 1955. This is Merrill’s final broadcast (he has three farewell Germonts with Moffo which constitute the final operatic appearance for both at the Met. My memory of this performance is not especially positive. Elinor Ross was a fine singer. I saw her a decade earlier in Philadelphia with an excellent Gioconda, Aida, and Turandot. She also has on Youtube a mostly complete Norma with Del Monaco from Germany. She is well up to the competition there. This is I think a bit late. For Merrlll’s Renato I strongly recommend 2 of his earlier Renatos from 1963 (with Nilsson and Tucker) and 1966 (with Price and Bergonzi). Lewis is not an inspiring conductor for me.
LE SACRE DU PRINTEMPS / LE ROSSIGNOL / OEDIPUS REX:Stravinsky
Gergiev; Trifonova, Banks, Zifchak / Forbis, Blythe, Nikitin
Original Air Date: 02/21/2004
SID.20160101
The Stravinsky evening as originally done by Levine with Hockney designs and Dexter direction was not as big a hit as the French evening, Parade, from Dexter and Hockney, but I prefer this to Rake’s Progress. Gergiev has a distinctive take on Stravinsky and always worth a listen in the Russian repertoire.
RODELINDA:Handel
Summers; Fleming, Scholl, van Rensburg, Blythe, Dumaux, Relyea
Original Air Date: 05/06/2006
MOD Video
SID.20160102
This performance in the second season of the production and Scholl’s first appearance at the Met. There was a third broadcast which includes an HD moviecast of Rodelinda with Fleming and Scholl under Bicket (whom I prefer to Summers) but the intervening 4 years do not benefit either Fleming or Scholl. This video is available also in MOoD so you can compare for yourself. I like Scholl much more than David Daniels so this is my preferred Rodelinda.
AIDA:Verdi
Badea; Rautio, Sylvester, Zajick, Pons, Plishka
Original Air Date: 03/02/1996
SID.20160104
While this is prime Zajick, the rest of this cast does not attract me. There are far worthier broadcasts including Solti and Steinberg from the 1960s, Curtis-Verna’s only broadcast Aida (replacing Tebaldi) with a sterling supporting cast from the 50s, etc. etc. Sylvester has 2 other broadcasts his first with Sweet and Zajick in 1994, and his last in 1997 with Sweet and Toczyska and I think Sweet is to be preferred if Sylvester (who is a solid Radames) is your primary interest.
BLUEBEARD’S CASTLE:Bartók
Levine; Ramey, Norman
Original Air Date: 01/28/1989
SID.20160105
What is defective about this is that in March of 2013 [and March 2015] the rebroadcast included the second work of the afternoon Schoenberg’s Erwartung with Norman. Rebroadcasting half the afternoon? I’ll try to be up and check and see if both works are actually on. Bluebeard with a much weaker cast is scheduled in a new production in 2014-2015 (the starrier fare of this season is Tchaikovsky’s Iolanta with Netrebko and Beczala. I find it a bit tone deaf to be honoring Norman’s 70th birthday with a broadcast that is incomplete and not yet honored in Met Opera on Demand or DVD for both the Bluebeard and the Erwartung. Although the Bartok is done in an English translation it was telecast as well. Norman is at her considerable best, and it would be nice if this performance could be issued somehow. Ramey is a very strong Bluebeard. It’s one of the few post 1977 videos not available in any form, either MOoD or DVD.