“HAMLET : Thomas
Original Air Date: 03/27/2010
Cast: Langrée; Keenlyside, Petersen, Larmore, Morris, Spence
Media: MOD Video SID.18010320 Tags: Archive; 2018
This is the only Met broadcast of the Thomas work. Keenlyside has a commercial DVD in the same production with Dessay from Barcelona 2004. Petersen was a late substitute for Dessay for the whole run. Larmoreis especially vivid as Gertrude, part of her movement into dramatic mezzo/soprano parts.”
“DON CARLO : Verdi
Original Air Date: 11/11/1950
Cast: Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Media: MOD Audio SID.18010424 Tags: Archive; 2018, Verdi
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles.
Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues.
Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion.
Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
1/23/2012 – How can a week get off to a bad start with Bing’s first presentation as General Manager to the Met in 1950 and the debuts of Siepi and Barbieri? The addition of Bjorling, Merrill, and Hines didn’t hurt. Rigal was a less notable debuting commodity, but this was the Don Carlo production that started the revival of interest which moved to another level with the Giulini/Visconti production at Covent Garden. Bing entrusted Stiedry with a number of his marquee productions in Verdi, Wagner, and Mozart. The sound is a little cramped, but there is no Bjorling studio or other live performance that captures him in this role. Not quite at the level of his Romeo which is one of the great Met performances ever, but my only sadness is that nothing of the video survives of the TELECAST of opening night.
1/30/2011 – A legendary performance and with good reason. Rigal not at the level of the others, but so grateful that it survives in as good a sound as it does. Also available on Met Player.
5/1/2008 – This performance has not been invisible, but for younger Sirius listeners this is a must have. Again, Bjorling did not record it commercially, and though never acclaimed as an actor, his live performances have a juice that his fine studio recordings never had. Exhibit A is the recent broadcast of the 1956 Manon Lescaut. “
“DON CARLO : Verdi
Original Air Date: 11/11/1950
Cast: Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Media: MOD Audio SID.18010534 Tags: Archive; 2018, Verdi
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles.
Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues.
Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion.
Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
1/23/2012 – How can a week get off to a bad start with Bing’s first presentation as General Manager to the Met in 1950 and the debuts of Siepi and Barbieri? The addition of Bjorling, Merrill, and Hines didn’t hurt. Rigal was a less notable debuting commodity, but this was the Don Carlo production that started the revival of interest which moved to another level with the Giulini/Visconti production at Covent Garden. Bing entrusted Stiedry with a number of his marquee productions in Verdi, Wagner, and Mozart. The sound is a little cramped, but there is no Bjorling studio or other live performance that captures him in this role. Not quite at the level of his Romeo which is one of the great Met performances ever, but my only sadness is that nothing of the video survives of the TELECAST of opening night.
1/30/2011 – A legendary performance and with good reason. Rigal not at the level of the others, but so grateful that it survives in as good a sound as it does. Also available on Met Player.
5/1/2008 – This performance has not been invisible, but for younger Sirius listeners this is a must have. Again, Bjorling did not record it commercially, and though never acclaimed as an actor, his live performances have a juice that his fine studio recordings never had. Exhibit A is the recent broadcast of the 1956 Manon Lescaut. “
“HAMLET : Thomas
Original Air Date: 03/27/2010
Cast: Langrée; Keenlyside, Petersen, Larmore, Morris, Spence
Media: MOD Video SID.18010535 Tags: Archive; 2018
This is the only Met broadcast of the Thomas work. Keenlyside has a commercial DVD in the same production with Dessay from Barcelona 2004. Petersen was a late substitute for Dessay for the whole run. Larmoreis especially vivid as Gertrude, part of her movement into dramatic mezzo/soprano parts.”
“ELEKTRA : Strauss
Original Air Date: 02/23/1952
Cast: Reiner; Varnay, Wegner, Höngen, Schöffler, Svanholm
Media: MOD Audio SID.18010636 Tags: Archive; 2018, Strauss
The Met premiere of Elektra was broadcast in 1932 with Gertude Kappel making a memorable appearance in the title role. I have only heard parts of this, but the whole broadcast does survive. The remaining four performances that season had Rossini’s Il Signor Bruschino as a curtain raiser.
The 1938 revival with Rose Pauly was not broadcast and was paired with Puccini’s Gianni Schicchi (from Trittico) for the first four, and the fifth was with Menotti’s Amelia goes to the ball.
The 1952 broadcast featured this week is the first broadcast in 20 years and features Varnay at the ripe age of 34 in the title role. She went on to sing the role all over the world for two decades before moving on to Klytemnestra.
Reiner had conducted a groundbreaking Salome in 1949 with Welitsch, and conducted Varnay in the last two Salomes of the 1952 season after this run of 5 Elektras. I can’t think of a singer (all of 34) who did both title roles in the same season.
This is available in Met Opera on Demand (MOoD) as
well.
2/6/2012 – This is not a premiere on Sirius, but it is not played often enough. Reiner and Varnay are in tremendous form–one of her very best roles, and this revival was the first at the Met in more than a decade. Reiner was a supreme Straussian. He broadcast Salome with Welitsch, this Elektra, and 3 Rosenkavaliers, 2 with Steber (1 with Stevens, 1 with Novotna) and one with Varnay as Marie Therese. The only thing more interesting about that broadcast would have been to SEE her as Marie Therese. Let’s hear it for the unearthing of Varnay’s Rosenkavalier. Until then, enjoy the House of Mycenae from this February 1952 matinee.
3/11/2011 – Reiner is a great Straussian, and Varnay a great Elektra. That’s quite enough for me. The only broadcast Elektra to precede this is 1932 with Gertrude Kappel. Alas, I do not believe this 1952 performance survives. Certainly I’ve never heard it. The reviews are ecstatic.
The 1966 performance which features Resnik’s only Met broadcast Klytemnestra I would like to hear again (it hasn’t been on Sirius). Nilsson and Rysanek are well caught 5 years later with Bohm; Madeira is at the very end of her career and not well served. Ute Vinzing (with Christa Ludwig as Klytemnestra) and Penelope Daner (with Rysanek as Klytemnestra), both under Levine have not been on Sirius, and i would especially like to hear the Vinzing performance
again. Daner had replaced Behrens for all performances after the premiere of the new production.
Two years after the disastrous Behrens premiere (the Times gave a glowing review to her for a performance that I thought would be interrupted at any moment) , Behrens returned in much-restored voice, and that broadcast was captured in a video with Fassbander that is in the Levine 40th DVD box set as well as Sirius broadcasting.”
“HANSEL AND GRETEL : Humperdinck
Original Air Date: 01/06/2018
Cast: Runnicles; Oropesa, Erraught, Zajick, Siegel, Kelsey
Media: Live Broadcast SID.18010640 Tags: LIVE; 2018
A Met English-language holiday presentation, Richard Jones’s clever production of Humperdinck’s fairy-tale opera is based on the Brothers Grimm story. Donald Runnicles conducts the sweeping score and a delightful cast, including the legendary Dolora Zajick as the wayward siblings’ mother. Tara Erraught and Ingeborg Gillebo share the role of Hansel, and Lisette Oropesa and Maureen McKay share the role of Gretel.
The matinee performance on December 28 will feature a pre-curtain open house, at 11AM, where audiences can connect with some of the designers, singers, dancers, musicians, and technical wizards behind the production.
-metopera.org”
“BILLY BUDD : Britten
Original Air Date: 03/08/1997
Cast: Bedford; Croft, Langridge, Morris, Braun, Courtney
Media: MOD AudioMOD Video SID.18020208 Tags: Archive; 2018
This broadcast precedes the telecast performance from 3 days later. The video was recently added to MOoD, and it’s an outstanding performance, starting with Dwayne Croft, and ably partnered by Philip Langridge as Vere and James Morris as Claggart.”
“BILLY BUDD : Britten
Original Air Date: 03/08/1997
Cast: Bedford; Croft, Langridge, Morris, Braun, Courtney
Media: MOD AudioMOD Video SID.18020425 Tags: Archive; 2018
This broadcast precedes the telecast performance from 3 days later. The video was recently added to MOoD, and it’s an outstanding performance, starting with Dwayne Croft, and ably partnered by Philip Langridge as Vere and James Morris as Claggart.”
“BILLY BUDD : Britten
Original Air Date: 03/08/1997
Cast: Bedford; Croft, Langridge, Morris, Braun, Courtney
Media: MOD AudioMOD Video SID.18020637 Tags: Archive; 2018
This broadcast precedes the telecast performance from 3 days later. The video was recently added to MOoD, and it’s an outstanding performance, starting with Dwayne Croft, and ably partnered by Philip Langridge as Vere and James Morris as Claggart.”
“CAVALLERIA RUSTICANA / PAGLIACCI : Mascagni / Leoncavallo
Original Air Date: 01/13/2018
Cast: Luisotti; Semenchuk, Alagna, Gagnidze, Kurzak, Arduini
Media: Live Broadcast SID.18020640 Tags: LIVE; 2018
Roberto Alagna takes on the leading tenor roles in both parts of opera’s most popular double bill. In Cavalleria Rusticana, Ekaterina Semenchuk is the woebegone Santuzza, with Aleksandra Kurzak as the hot-blooded Nedda in Pagliacci. Baritone George Gagnidze sings Tonio in Pagliacci and shares the role of Alfio in Cavalleria Rusticana with Željko Lučić. Nicola Luisotti conducts Sir David McVicar’s production, which heightens the melodramatic action of this timeless verismo pairing.
Production a gift of M. Beverly and Robert G. Bartner, Mr. and Mrs. Paul M. Montrone, and the Estate of Anne Tallman
Major funding from Rolex Additional funding from John J. Noffo Kahn and Mark Addison, and Paul Underwood”
“THAÏS : Massenet
Original Air Date: 01/20/2018
Cast: Villaume; Pérez, Finley, Borras
Media: Live Broadcast SID.18030640 Tags: LIVE; 2018
Ailyn Pérez is the alluring courtesan and Gerald Finley is the holy man who tries to resist her powers of seduction in Massenet’s tale of sensuality versus spirituality. Emmanuel Villaume conducts. (metopera.org)”
“TOSCA : Puccini
Original Air Date: 01/27/2018
Cast: Villaume; Yoncheva, Grigolo, Lucic
Media: Live Broadcast SID.18040640 Tags: LIVE; 2018, Puccini
Sir David McVicar’s “smashing new production” is “a grand triumph” (Huffington Post), featuring an exciting cast led by soprano Sonya Yoncheva in the title role of the fiery diva and Vittorio Grigolo as her passionate lover, Cavaradossi. The pair are “youthful, ardent, and innocent … their duets electric, their kisses hot and numerous” (Wall Street Journal). Yoncheva’s sound is “richly textured and shimmering,” and “Grigolo’s Mario is a true hothead … complete with thrilling top notes” (New York Times). Željko Lučić is “an imposing figure with a voice to match” (Wall Street Journal) as the villainous police chief, Scarpia, and Emmanuel Villaume conducts.
Production a gift of Jacqueline Desmarais, in memory of Paul G. Desmarais Sr; The Paiko Foundation; and Dr. Elena Prokupets, in memory of her late husband, Rudy Prokupets
Major funding from Rolex
-metopera.org”
“IL TROVATORE : Verdi
Original Air Date: 02/03/2018
Cast: Armiliato; Agresta, Rachvelishvili, Lee, Kelsey, Kocán
Media: Live Broadcast SID.18050640 Tags: LIVE; 2018, Verdi
Verdi’s blazing depiction of life on the edge returns in Sir David McVicar’s compelling production, featuring Jennifer Rowley as the noble heroine, Leonora, Yonghoon Lee as the troubadour who loves her, Quinn Kelsey and Luca Salsi as his rival, and Anita Rachvelishvili as the gypsy Azucena, whose bloodthirsty curse propels the story. Marco Armiliato conducts.
Production a gift of The Annenberg Foundation
Co-production of the Metropolitan Opera, Lyric Opera of Chicago, and San Francisco Opera Association
World premiere: Teatro Apollo, Rome, 1853.
Met premiere: October 26, 1883.”
“IL BARBIERE DI SIVIGLIA : Rossini
Original Air Date: 12/21/1957
Cast: Rudolf; Guarrera, Peters, Valletti, Corena, Hines
Media: MOD Audio SID.18060104 Tags: Archive; 2018
Guarrera is an alert if not so suave Figaro. Rudolf leads an experienced ensemble. One should listen to Corena here to hear why he’s remains so missed. The Met should release the Berganza 1968 video if for no other reason to preserve his Bartolo.”
“FEDORA : Giordano
Original Air Date: 04/26/1997
Cast: Abbado; Freni, Domingo, Croft, Arteta
Media: MOD Video SID.18060209 Tags: Archive; 2018, Domingo
This is the Met’s only broadcast of this verismo work, and is available on DVD also. This is a solid performance even if it catches Freni in the extreme twilight of a very long career. This is Freni’s penultimate opera performance at the Met, with another Fedora 5 days later. She appears 5 years later in an opening night gala doing Act 2 of Fedora, and she returns 3 years later for an end of season concert that marks her last vocal appearance on any stage.”
“IL BARBIERE DI SIVIGLIA : Rossini
Original Air Date: 12/21/1957
Cast: Rudolf; Guarrera, Peters, Valletti, Corena, Hines
Media: MOD Audio SID.18060320 Tags: Archive; 2018
Guarrera is an alert if not so suave Figaro. Rudolf leads an experienced ensemble. One should listen to Corena here to hear why he’s remains so missed. The Met should release the Berganza 1968 video if for no other reason to preserve his Bartolo.”
“FEDORA : Giordano
Original Air Date: 04/26/1997
Cast: Abbado; Freni, Domingo, Croft, Arteta
Media: MOD Video SID.18060422 Tags: Archive; 2018, Domingo
This is the Met’s only broadcast of this verismo work, and is available on DVD also. This is a solid performance even if it catches Freni in the extreme twilight of a very long career. This is Freni’s penultimate opera performance at the Met, with another Fedora 5 days later. She appears 5 years later in an opening night gala doing Act 2 of Fedora, and she returns 3 years later for an end of season concert that marks her last vocal appearance on any stage.”
“IL BARBIERE DI SIVIGLIA : Rossini
Original Air Date: 12/21/1957
Cast: Rudolf; Guarrera, Peters, Valletti, Corena, Hines
Media: MOD Audio SID.18060424 Tags: Archive; 2018
Guarrera is an alert if not so suave Figaro. Rudolf leads an experienced ensemble. One should listen to Corena here to hear why he’s remains so missed. The Met should release the Berganza 1968 video if for no other reason to preserve his Bartolo.”
“IL BARBIERE DI SIVIGLIA : Rossini
Original Air Date: 12/21/1957
Cast: Rudolf; Guarrera, Peters, Valletti, Corena, Hines
Media: MOD Audio SID.18060636 Tags: Archive; 2018
Guarrera is an alert if not so suave Figaro. Rudolf leads an experienced ensemble. One should listen to Corena here to hear why he’s remains so missed. The Met should release the Berganza 1968 video if for no other reason to preserve his Bartolo.”
“L’ELISIR D’AMORE : Donizetti
Original Air Date: 02/10/2018
Cast: Hindoyan; Yende, Polenzani, Luciano, D’Arcangelo
Media: Live Broadcast SID.18060639 Tags: LIVE; 2018
Pretty Yende debuts a new role at the Met with her first Adina opposite Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his ravishing “Una furtiva lagrima.” Bartlett Sher’s production is charming, with deft comedic timing, but also emotionally revealing. Domingo Hindoyan conducts. (metopera.org) “
“FEDORA : Giordano
Original Air Date: 04/26/1997
Cast: Abbado; Freni, Domingo, Croft, Arteta
Media: MOD Video SID.18060640 Tags: Archive; 2018, Domingo
This is the Met’s only broadcast of this verismo work, and is available on DVD also. This is a solid performance even if it catches Freni in the extreme twilight of a very long career. This is Freni’s penultimate opera performance at the Met, with another Fedora 5 days later. She appears 5 years later in an opening night gala doing Act 2 of Fedora, and she returns 3 years later for an end of season concert that marks her last vocal appearance on any stage.”
“PARSIFAL : Wagner
Original Air Date: 02/17/2018
Cast: Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Media: Live Broadcast SID.18070639 Tags: LIVE; 2018, Wagner
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively.
Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French”
“LA BOHÈME : Puccini
Original Air Date: 02/24/2018
Cast: Armiliato; Yoncheva, Phillips, Fabiano, Meachem, Lavrov, Rose, Plishka
Media: Live Broadcast SID.18080640 Tags: LIVE; 2018, Puccini
“
“AIDA : Verdi
Original Air Date: 02/25/1967
Cast: Schippers; Price, Bergonzi, Bumbry, Merrill, Hines
Media: SID.18090102 Tags: Archive; 2018, Verdi
On paper this performance looks like the dream cast. It is not. Price who sang possibly her very best performance ever in the opening night Antony and Cleopatra six months earlier, sings much too much on
principal with a particularly vulgar opening of Ritorna vincitor. What is most sad is that her first two Aida broadcasts, the first with Gorr, Bergonzi, Sereni, Siepi, and Macurdy under Solti from 1963, the second from 1965 with Dalis, Tucker, Merrill, Ghiuselev, Michalski under Mehta have not been on Sirius. The first I remember vividly , and has been on private European pressings; it is one of the very best Met Aidas. Bergonzi is substantially stronger in 1963; The 1965 performance simply has Mehta as a better Aida conductor than Schippers.
Richard Tucker, whose career is not overlooked by the Sirius folk, has not managed to have his Radames on Sirius despite having broadcast the role with Nilsson, Price, and Arroyo. Bumbry is here in the first of her 3 broadcast Amnerises, and she is better with Arroyo which has been on Sirius.
Merrill is in remarkable voice 21 years after his debut (a few too many woofs, but still the most mellifluous Amonasro ever (though plenty of testosterone if not real anger). So here are 4 relatively recent Aidas (post 1960) which somehow can’t get to the airwaves. This 1967 is on Met Opera on Demand (MOoD) and also appears in the 2013 Verdi at the
Met bicentennial box, but it still does not rank as one of Price’s
best efforts, or one of the best modern Met Aidas.
***
Available in MOoD. This is also in the new Verdi box , but the missing
AIda should be the 1963 with Solti conducting Price, Gorr, Bergonzi, Siepi,
Macurdy. Bergonzi cracks in the Celeste AIda and neither Price nor Bumbry are at their best.
***
On paper this looks like dream casting, but starting with Sgarro (one really wants a major voice in the King, Sgarro is not) Price is not in the outstanding form she showed six months earlier in the Antony and Cleopatra world premiere. Bergonzi (despite a crazk in his Celeste Aida dimuendo), Bumbry and Merrill (esp. ) are in very fine form. Schippers is not my favorite Aida conductor, and he doesn’t get much of a tone out of the Met orchestra, though the chorus is on good form. This is on Met Player (along with the video of her farewell in 1985 and an audio with HOrne and McCracken. What is not on MetPlayer and has not been on either Sirius is Solti’s Met farewell staged opera (he also has a Verdi Requiem which has not been on Sirius) with Price, Gorr, Bergonzi, Sereni, Siepi. That is the performance that should be available.”
“EUGENE ONEGIN : Tchaikovsky
Original Air Date: 02/24/2007
Cast: Gergiev; Hvorostovsky, Fleming, Vargas, Zaremba, Aleksashkin
Media: Live in HDMOD AudioMOD Video SID.18090210 Tags: Archive; 2018
This performance is on DVD, Met Player, and certainly the combination of Gergiev, Hvorostovsky and Fleming is all to the good. A performers giving A performances. I would like a better Gremin.”
“AIDA : Verdi
Original Air Date: 02/25/1967
Cast: Schippers; Price, Bergonzi, Bumbry, Merrill, Hines
Media: SID.18090318 Tags: Archive; 2018, Verdi
On paper this performance looks like the dream cast. It is not. Price who sang possibly her very best performance ever in the opening night Antony and Cleopatra six months earlier, sings much too much on
principal with a particularly vulgar opening of Ritorna vincitor. What is most sad is that her first two Aida broadcasts, the first with Gorr, Bergonzi, Sereni, Siepi, and Macurdy under Solti from 1963, the second from 1965 with Dalis, Tucker, Merrill, Ghiuselev, Michalski under Mehta have not been on Sirius. The first I remember vividly , and has been on private European pressings; it is one of the very best Met Aidas. Bergonzi is substantially stronger in 1963; The 1965 performance simply has Mehta as a better Aida conductor than Schippers.
Richard Tucker, whose career is not overlooked by the Sirius folk, has not managed to have his Radames on Sirius despite having broadcast the role with Nilsson, Price, and Arroyo. Bumbry is here in the first of her 3 broadcast Amnerises, and she is better with Arroyo which has been on Sirius.
Merrill is in remarkable voice 21 years after his debut (a few too many woofs, but still the most mellifluous Amonasro ever (though plenty of testosterone if not real anger). So here are 4 relatively recent Aidas (post 1960) which somehow can’t get to the airwaves. This 1967 is on Met Opera on Demand (MOoD) and also appears in the 2013 Verdi at the
Met bicentennial box, but it still does not rank as one of Price’s
best efforts, or one of the best modern Met Aidas.
***
Available in MOoD. This is also in the new Verdi box , but the missing
AIda should be the 1963 with Solti conducting Price, Gorr, Bergonzi, Siepi,
Macurdy. Bergonzi cracks in the Celeste AIda and neither Price nor Bumbry are at their best.
***
On paper this looks like dream casting, but starting with Sgarro (one really wants a major voice in the King, Sgarro is not) Price is not in the outstanding form she showed six months earlier in the Antony and Cleopatra world premiere. Bergonzi (despite a crazk in his Celeste Aida dimuendo), Bumbry and Merrill (esp. ) are in very fine form. Schippers is not my favorite Aida conductor, and he doesn’t get much of a tone out of the Met orchestra, though the chorus is on good form. This is on Met Player (along with the video of her farewell in 1985 and an audio with HOrne and McCracken. What is not on MetPlayer and has not been on either Sirius is Solti’s Met farewell staged opera (he also has a Verdi Requiem which has not been on Sirius) with Price, Gorr, Bergonzi, Sereni, Siepi. That is the performance that should be available.”
“EUGENE ONEGIN : Tchaikovsky
Original Air Date: 02/24/2007
Cast: Gergiev; Hvorostovsky, Fleming, Vargas, Zaremba, Aleksashkin
Media: Live in HDMOD AudioMOD Video SID.18090426 Tags: Archive; 2018
This performance is on DVD, Met Player, and certainly the combination of Gergiev, Hvorostovsky and Fleming is all to the good. A performers giving A performances. I would like a better Gremin.”
“AIDA : Verdi
Original Air Date: 02/25/1967
Cast: Schippers; Price, Bergonzi, Bumbry, Merrill, Hines
Media: SID.18090534 Tags: Archive; 2018, Verdi
On paper this performance looks like the dream cast. It is not. Price who sang possibly her very best performance ever in the opening night Antony and Cleopatra six months earlier, sings much too much on
principal with a particularly vulgar opening of Ritorna vincitor. What is most sad is that her first two Aida broadcasts, the first with Gorr, Bergonzi, Sereni, Siepi, and Macurdy under Solti from 1963, the second from 1965 with Dalis, Tucker, Merrill, Ghiuselev, Michalski under Mehta have not been on Sirius. The first I remember vividly , and has been on private European pressings; it is one of the very best Met Aidas. Bergonzi is substantially stronger in 1963; The 1965 performance simply has Mehta as a better Aida conductor than Schippers.
Richard Tucker, whose career is not overlooked by the Sirius folk, has not managed to have his Radames on Sirius despite having broadcast the role with Nilsson, Price, and Arroyo. Bumbry is here in the first of her 3 broadcast Amnerises, and she is better with Arroyo which has been on Sirius.
Merrill is in remarkable voice 21 years after his debut (a few too many woofs, but still the most mellifluous Amonasro ever (though plenty of testosterone if not real anger). So here are 4 relatively recent Aidas (post 1960) which somehow can’t get to the airwaves. This 1967 is on Met Opera on Demand (MOoD) and also appears in the 2013 Verdi at the
Met bicentennial box, but it still does not rank as one of Price’s
best efforts, or one of the best modern Met Aidas.
***
Available in MOoD. This is also in the new Verdi box , but the missing
AIda should be the 1963 with Solti conducting Price, Gorr, Bergonzi, Siepi,
Macurdy. Bergonzi cracks in the Celeste AIda and neither Price nor Bumbry are at their best.
***
On paper this looks like dream casting, but starting with Sgarro (one really wants a major voice in the King, Sgarro is not) Price is not in the outstanding form she showed six months earlier in the Antony and Cleopatra world premiere. Bergonzi (despite a crazk in his Celeste Aida dimuendo), Bumbry and Merrill (esp. ) are in very fine form. Schippers is not my favorite Aida conductor, and he doesn’t get much of a tone out of the Met orchestra, though the chorus is on good form. This is on Met Player (along with the video of her farewell in 1985 and an audio with HOrne and McCracken. What is not on MetPlayer and has not been on either Sirius is Solti’s Met farewell staged opera (he also has a Verdi Requiem which has not been on Sirius) with Price, Gorr, Bergonzi, Sereni, Siepi. That is the performance that should be available.”
“MADAMA BUTTERFLY : Puccini
Original Air Date: 03/03/2018
Cast: Armiliato; Jaho, Aronica, Zifchak, Frontali, Stevenson
Media: Live Broadcast SID.18090640 Tags: LIVE; 2018, Puccini
Anthony Minghella’s stunning production of Puccini’s heartbreaking opera, an instant Met classic since its 2006 premiere, returns with Hui He and Ermonela Jaho in the tragic title role of the trusting geisha. Roberto Aronica and Luis Chapa alternate as her callous American lover, Pinkerton, and Jader Bignamini and Marco Armiliato conduct. (metopera.org)
See the Program for the Program Notes by Albert Innaurato.”
“EUGENE ONEGIN : Tchaikovsky
Original Air Date: 02/24/2007
Cast: Gergiev; Hvorostovsky, Fleming, Vargas, Zaremba, Aleksashkin
Media: Live in HDMOD AudioMOD Video SID.18090743 Tags: Archive; 2018
This performance is on DVD, Met Player, and certainly the combination of Gergiev, Hvorostovsky and Fleming is all to the good. A performers giving A performances. I would like a better Gremin.”