ELEKTRA:Strauss
Original Air Date: 02/27/1971
Böhm; Nilsson, Rysanek, Madeira, Stewart, Nagy
MOD Audio SID.19160743
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.
FIDELIO:Beethoven
Original Air Date: 04/10/1982
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
SID.19160744
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 three performances are her only times in the part.
TOSCA:Puccini
Original Air Date: 04/16/1994
Badea; Guleghina, Pavarotti, Morris
SID.19160745
I don’t keep track of when these three were at their best in these roles. This is Guleghina’s second of four matinee Toscas and she might well have had some good moments. This is early in Guleghina’s career. I’m not so vehemently negative as Joseph Kerman, but unless Tebaldi is on, or they see fit to unearth the Stella Tosca, I can live without.
DON GIOVANNI:Mozart
Original Air Date: 03/13/1954
Rudolf; London, Harshaw, Corena, Steber, Conley, Conner
SID.19160746
The unusual casting is for the two leading ladies with Harshaw in her first Anna broadcast (the second comes a year later with Siepi for London, Amara for Steber, Valletti for Conley, and Peters for Conner. Rudolf, Harshaw, and Corena are the constants. Steber finishes her 1944-1954 Met connection with Elvira at three tour stops with Valletti back for them. With Bing’s full complement of lyric sopranos, he unveils a new production in 1957 with Steber moving up to Anna [Steber did a 2 performance preview of her Anna in the 1954-1955 season], Della Casa becoming the preferred Elvira, and Peters the preferred Zerlina. I’m happy to have this 1954 in the rotation, but once again call on the Met to offer the 1957 broadcast on Sirius and eventually on MOoD. I have a European pressing of this performance, and it is one of the great broadcasts of the 1950s.
DAS RHEINGOLD:Wagner
Original Air Date: 02/15/1975
Ehrling; McIntyre, Dunn, Peterson, Rintzler, Rundgren, Macurdy
SID.19160424
This performance marks Donald McIntyre’s Met debut (broadcast debuts are not so common) and the farewell of Glade Peterson who had made his debut as Loge five days before. McIntyre would be the main reason for listening, but he has the Chereau Ring from Bayreuth three years later on video. I saw the 1978 Chereau Ring live, and he was definitely one of the brightest elements. 6/6/12 – This is only a three performance outing this week where McIntyre is the only real point of distinction. Not awful, but what’s the point? 6/22/11 – The cream of this 1975 cycle were the Nilsson parts of the Ring. Nothing especially remarkable here.
SUSANNAH:Floyd
Original Air Date: 04/03/1999
Conlon; Fleming, Hadley, Ramey
MOD Audio SID.19160529
This is the Met’s only broadcast of Susannah, and finds all three principals on especially fine form. I’ve seen the opera four times, and each time it is very successful and attention holding. 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. Very fine performances from both Fleming and Ramey under Conlon bring great credit to the Met and the artists. One of the most distinctive broadcasts of the week. 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.
MACBETH:Verdi
Original Air Date: 02/21/1959
Leinsdorf; Warren, Rysanek, Hines, Bergonzi
MOD Audio SID.19160749
This is the Met premiere broadcast of Macbeth, and at least three of the principals are as good as you’re going to get. Mitropoulos was originally scheduled for this production but because of health problems it moved on to Leinsdorf. It’s a loss, but Rysanek more than holds up her end. This performance is also on Met Player for regular listening. Only the second year broadcast from 1960 has not appeared on Sirius (Barioni for Bergonzi) and it also has the duet on the heath cut. Still it would be interesting to hear as the contemporary reviews found the performance even better integrated. This cast was recorded by RCA shortly after the premiere, and this broadcast is available on Met Player. Very solid casting from top to bottom. Bergonzi really is luxury casting singing one of the great Verdi tenor arias, Ah, la paterna mano. Highly recommended.
LUCIA DI LAMMERMOOR:Donizetti
Original Air Date: 02/19/1966
Varviso; Peters, Kónya, Guarrera, Díaz
SID.19170315
It’s a change from the Sutherland 1966 performance 10 months later, but Konya is not my idea of Edgardo, and I prefer the bigger scaled Lucias to Peters. As Roman Hruska once commented on a Supreme Court nominee – Mediocrities have to be represented as well.
DIE MEISTERSINGER VON NÜRNBERG:Wagner
Original Air Date: 04/17/1976
Ehrling; Stewart, Saunders, Cox, Leib, Macurdy, Riegel
SID.19170316
Jackson in his execrably edited third volume of Met broadcast history makes Ehrling into a Swiss conductor, when of course he was a native Swede through and through. Stewart has a notable recording of Sachs for Bavarian Radio under Kubelik with Janowitz and Konya that can still be located on specialty labels (Fischer-Dieskau’s effort with Jochum on DG effectively blocked this from what would normally have been the logical label. Jean Cox recently passed on, and was the infamous Siegfried at my 1978 Chereau performance at Bayreuth– Kollo mimed and Cox sang from offstage as he did not know the complex staging. Arlene Saunders long a NYCO favorite finally gets to the Met towards the end of her career, but per Jackson is still quite a successful Eva. So lots of curiosity for this performance.
DIE MEISTERSINGER VON NÜRNBERG:Wagner
Original Air Date: 04/17/1976
Ehrling; Stewart, Saunders, Cox, Leib, Macurdy, Riegel
SID.19170317
Jackson in his execrably edited third volume of Met broadcast history makes Ehrling into a Swiss conductor, when of course he was a native Swede through and through. Stewart has a notable recording of Sachs for Bavarian Radio under Kubelik with Janowitz and Konya that can still be located on specialty labels (Fischer-Dieskau’s effort with Jochum on DG effectively blocked this from what would normally have been the logical label. Jean Cox recently passed on, and was the infamous Siegfried at my 1978 Chereau performance at Bayreuth– Kollo mimed and Cox sang from offstage as he did not know the complex staging. Arlene Saunders long a NYCO favorite finally gets to the Met towards the end of her career, but per Jackson is still quite a successful Eva. So lots of curiosity for this performance.
UN BALLO IN MASCHERA:Verdi
Original Air Date: 12/06/1975
Lewis; Morell, Ross, Merrill, Peters, Forrester
SID.19170318
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.
IDOMENEO:Mozart
Original Air Date: 01/15/1983
Levine; Lewis, Valente, Behrens, von Stade, Alexander
SID.19170319
This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.
LUISA MILLER:Verdi
Original Air Date: 03/02/1991
Santi; Esperian, Pavarotti, Nucci, Plishka, Koptchak, White
SID.19170320
Luisa Miller has done well on the air, although not entering the broadcast repertory of the Met until 1968. The title role has been taken on the airwaves by Caballe, Maliponte (not yet on Sirius!), Scotto, Ricciarelli, and Millo prior to this broadcast; for the tenor role, Tucker, Domingo, Pavarotti (in 1982 with Ricciarelli) led the way. The 1982 performance is also conducted by Santi and features Nucci and Plishka as well. The 1982 performance is on MOoD and I am listening to Tu puniscimi right now. The question is whether Esperian is to be preferred. For my money what I want to hear is either Caballe or Millo or Maliponte who simply have more of a measure of the music than Ricciarelli who has the right equipment, but not sure if she has the right technique. Esperian is even less gifted singer. Either way, Santi’s conducting is too lax for my taste as it was in the house. Levine is a far better Luisa conductor. For my money Act 3 of Luisa Miller is among the greatest acts in the Verdi canon This is the second of Pavarotti’s two broadcast Rodolfos. His 1982 also with Santi ( NO) and Nucci has Ricciarelli in the title role. It’s her most congenial role for a singer who had a short prime but not a short career. The 1982 version with KR is available on MOoD. It’s a good role for Pavarotti, but better to hear the earlier version; one of my favorite early Verdi works, and the last act is as good as anything he ever wrote. — Better to hear Pavarotti with Ricciarelli nine years earlier, also with Nucci and Santi and that is on Met Player.
THE MAKROPULOS CASE:Janácek
Original Air Date: 04/18/1998
Mackerras; Malfitano, Brubaker, Fox, West
SID.19170422
This is Malfitano’s only broadcast of Emilia Marty, and this run was the first time at the Met in Czech (Norman premiered it 3 years earlier in English). Mackerras is a recognized authority on Janacek, and you might want to take a listen to get ready for the Mattila revival scheduled this season.
LUCIA DI LAMMERMOOR:Donizetti
Original Air Date: 02/19/1966
Varviso; Peters, Kónya, Guarrera, Díaz
SID.19170423
It’s a change from the Sutherland 1966 performance 10 months later, but Konya is not my idea of Edgardo, and I prefer the bigger scaled Lucias to Peters. As Roman Hruska once commented on a Supreme Court nominee – Mediocrities have to be represented as well.
DIE ZAUBERFLÖTE:Mozart
Original Air Date: 02/07/1981
Foster; Popp, Kuebler, Duesing, Donat, Macurdy
MOD Audio SID.19170424
Lucia Popp made her debut with the Chagall Flute as Queen of the Night, the first season in the new house. She didn’t broadcast the role until 3 years later, and then 11 years later moves down to Pamina in this broadcast She’s a very fine Pamina, but overall I am not impressed by the remainder of the cast. The main distinction here is Popp’s Pamina, and she is one of the best. The rest of the cast is OK, but there are other broadcasts of more distinction in the other roles.
CAVALLERIA RUSTICANA / PAGLIACCI:Mascagni / Leoncavallo
Original Air Date: 02/04/1995
Badea; Guleghina, Jóhannsson, Pola / Dessì, Martinucci, Nucci
SID.19170425
Another Cavalleria of minimal interest– there must be something better in the archives. The Pagliacci does feature a qualified if not often encountered cast. Martinucci only has 25 performances in 7 seasons at the Met and this Canio is only 3 before his farewell. He has a very decent Fanciulla with Dimitrova, and is the Chenier on Milnes 25th anniversary broadcast. I saw him in Chicago in Gioconda, and he worked regularly in the top European houses I think for maybe another decade.
IL TROVATORE:Verdi
Original Air Date: 02/04/1961
Cleva; Corelli, Price, Dalis, Sereni, Wilderman
MOD Audio SID.19170426
This is now on Sony Historic CD as well as MOoD. Only a few weeks after Corelli and Price’s joint debut, the electricity is still firmly in place. Merrill was the scheduled Luna, but a snowstorm kept him stranded in New Rochelle. Dalis is not Simionato or Barbieri, but very musical and she is not a potted plant. This performance comes from the debut season of both Corelli and Price, and why they were such a sensation is clear from this broadcast. It’s also available in Sony Classical’s Historic Met CD series. Sereni and Dalis hold up their end (Sereni was a replacement for Merrill who was trapped in a snowstorm in New Rochelle) and Verdi is well served.
ALCESTE:Gluck
Original Air Date: 03/08/1941
Panizza; Bamptom, Maison, Warren
SID.19170428
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.
I PURITANI:Bellini
Original Air Date: 12/13/1986
Bonynge; Sutherland, Blake, Milnes, Ramey
SID.19170529
This is Sutherland in her penultimate Met season and still singing this music at 60, and in many passages even better than she sang them 10 years earlier at 50. She also leaves us with the legendary New York and Philadelphia concert performances with a resplendent Nicolai Gedda. Blake is not Pavarotti, but Milnes and Ramey have a lot to offer in the other roles.
COSÌ FAN TUTTE:Mozart
Original Air Date: 02/24/2001
Summers; Diener, Groves, Graham, Gilfry, Upshaw, Pertusi
SID.19170530
I only heard portions of this broadcast, where I thought Diener was a better than average Fiordiligi, and very good work from Susan Graham, though she appears four years earlier with Vaness and Isepp conducting a more interesting supporting cast- Marie McLaughlin, Richard Croft, Nathan Gunn, and William Shimell. I do not have strong memories of this performance, though Diener has solid Mozart credentials, and this is definitely prime time for Susan Graham.
ALCESTE:Gluck
Original Air Date: 03/08/1941
Panizza; Bamptom, Maison, Warren
SID.19170531
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 MEISTERSINGER VON NÜRNBERG:Wagner
Original Air Date: 04/17/1976
Ehrling; Stewart, Saunders, Cox, Leib, Macurdy, Riegel
SID.19170532
Jackson in his execrably edited third volume of Met broadcast history makes Ehrling into a Swiss conductor, when of course he was a native Swede through and through. Stewart has a notable recording of Sachs for Bavarian Radio under Kubelik with Janowitz and Konya that can still be located on specialty labels (Fischer-Dieskau’s effort with Jochum on DG effectively blocked this from what would normally have been the logical label. Jean Cox recently passed on, and was the infamous Siegfried at my 1978 Chereau performance at Bayreuth– Kollo mimed and Cox sang from offstage as he did not know the complex staging. Arlene Saunders long a NYCO favorite finally gets to the Met towards the end of her career, but per Jackson is still quite a successful Eva. So lots of curiosity for this performance.
DIE MEISTERSINGER VON NÜRNBERG:Wagner
Original Air Date: 04/17/1976
Ehrling; Stewart, Saunders, Cox, Leib, Macurdy, Riegel
SID.19170533
Jackson in his execrably edited third volume of Met broadcast history makes Ehrling into a Swiss conductor, when of course he was a native Swede through and through. Stewart has a notable recording of Sachs for Bavarian Radio under Kubelik with Janowitz and Konya that can still be located on specialty labels (Fischer-Dieskau’s effort with Jochum on DG effectively blocked this from what would normally have been the logical label. Jean Cox recently passed on, and was the infamous Siegfried at my 1978 Chereau performance at Bayreuth– Kollo mimed and Cox sang from offstage as he did not know the complex staging. Arlene Saunders long a NYCO favorite finally gets to the Met towards the end of her career, but per Jackson is still quite a successful Eva. So lots of curiosity for this performance.
IDOMENEO:Mozart
Original Air Date: 01/15/1983
Levine; Lewis, Valente, Behrens, von Stade, Alexander
SID.19170534
This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.
LUISA MILLER:Verdi
Original Air Date: 03/02/1991
Santi; Esperian, Pavarotti, Nucci, Plishka, Koptchak, White
SID.19170535
Luisa Miller has done well on the air, although not entering the broadcast repertory of the Met until 1968. The title role has been taken on the airwaves by Caballe, Maliponte (not yet on Sirius!), Scotto, Ricciarelli, and Millo prior to this broadcast; for the tenor role, Tucker, Domingo, Pavarotti (in 1982 with Ricciarelli) led the way. The 1982 performance is also conducted by Santi and features Nucci and Plishka as well. The 1982 performance is on MOoD and I am listening to Tu puniscimi right now. The question is whether Esperian is to be preferred. For my money what I want to hear is either Caballe or Millo or Maliponte who simply have more of a measure of the music than Ricciarelli who has the right equipment, but not sure if she has the right technique. Esperian is even less gifted singer. Either way, Santi’s conducting is too lax for my taste as it was in the house. Levine is a far better Luisa conductor. For my money Act 3 of Luisa Miller is among the greatest acts in the Verdi canon This is the second of Pavarotti’s two broadcast Rodolfos. His 1982 also with Santi ( NO) and Nucci has Ricciarelli in the title role. It’s her most congenial role for a singer who had a short prime but not a short career. The 1982 version with KR is available on MOoD. It’s a good role for Pavarotti, but better to hear the earlier version; one of my favorite early Verdi works, and the last act is as good as anything he ever wrote. — Better to hear Pavarotti with Ricciarelli nine years earlier, also with Nucci and Santi and that is on Met Player.
THE MAKROPULOS CASE:Janácek
Original Air Date: 04/18/1998
Mackerras; Malfitano, Brubaker, Fox, West
SID.19170636
This is Malfitano’s only broadcast of Emilia Marty, and this run was the first time at the Met in Czech (Norman premiered it 3 years earlier in English). Mackerras is a recognized authority on Janacek, and you might want to take a listen to get ready for the Mattila revival scheduled this season.
SALOME:Strauss
Original Air Date: 03/07/1981
Davis; Jones, Cassilly, Dunn, Weikl, Jenkins
SID.19170637
This is Jones’ only Met broadcast as the Judaean princess. Her singing in this period could be variable, and in the house, she was compelling. Over the airwaves can be another matter– on Sirius wasn’t very pleased with her. Jones’ Salome in the house seemed OK, but broadcast scrutiny was not flattering. There is a Hamburg recording with Jones Cassilly, and Dunn repeating their roles with Fischer-Dieskau. Weikl is very good here from the Met, but there are much better Salomes out there than this. This performance is rotated with some frequency, but I am not sure why. To me there are at least four more outstanding broadcasts and only the 1949 Welitsch under Reiner is missing from the Sirius playlist. 1965 Nilsson with Bohm is a stunning performance and it’s also in MOoD for USA listeners (saw her also in concert with Chicago Symphony and Solti which was even more blistering (and better brass); 1989 Marton with Janowski is an excellent performance as is the 2004 Mattila under Gergiev (the HD 3 years later is not in the same league just as happened with Welitsch in 1952). Though esteemed singers Behrens is too late at the Met, Rysanek is not her usual best Strauss form with either Bohm or Leinsdorf, but Stolze and Dalis feature a level of depravity in the 1972 Bohm performance one never forgets. I rather like Bumbry’s 1974 broadcast with Levine also in MOoD but not quite the stellar level. Two notable Salomes have also been on the Met airwaves, but not rebroadcast on Sirius, both with Mitropoulos– Christel Goltz and in 1958 Inge Borkh (who is still with us!!!!)
DIE ZAUBERFLÖTE:Mozart
Original Air Date: 02/07/1981
Foster; Popp, Kuebler, Duesing, Donat, Macurdy
MOD Audio SID.19170639
Lucia Popp made her debut with the Chagall Flute as Queen of the Night, the first season in the new house. She didn’t broadcast the role until 3 years later, and then 11 years later moves down to Pamina in this broadcast She’s a very fine Pamina, but overall I am not impressed by the remainder of the cast. The main distinction here is Popp’s Pamina, and she is one of the best. The rest of the cast is OK, but there are other broadcasts of more distinction in the other roles.
UN BALLO IN MASCHERA:Verdi
Original Air Date: 12/06/1975
Lewis; Morell, Ross, Merrill, Peters, Forrester
SID.19170640
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.