SIMON BOCCANEGRA:Verdi
Molinari-Pradelli; MacNeil, Tucci, Shirley, Hines, Milnes
Original Air Date: 12/14/1968
SID.20090102
This is MacNeil’s only broadcast Doge, and is almost as notable for Milnes’ turn as Paolo emulating Leonard Warren who had debuted as Paolo in 1939 and premiered a new Met production less than a week before his untimely death onstage. Hines lacks the profile if not the voice for one of the most interesting of Verdi’s bass roles. Tucci and Shirley are decent if not as megawatt as Tebaldi and Tucker or Milanov and Bergonzi in past times, and Te Kanawa and Domingo in more recent times (though even that is more than 25 years ago now). It should be in MOoD. In two complete misses on Boccanegra, the 1974 revival had two outstanding portrayals under Eherling: Ingvar Wixell in the title role, and Maliponte as Amelia. Tucker is on exceptional late form as well. Historically there are only two broadcasts 1935 and 1939 with Lawrence Tibbett and Ezio Pinza under Panizza should be added to the MOoD archive.
LUCIA DI LAMMERMOOR:Donizetti
Cleva; Callas, Votipka, McCracken, Sordello, Campora, Franke, Moscona
Original Air Date: 12/08/1956
MOD Audio
SID.20090103
The matinée of Lucia di Lammermoor on December 8, 1956, represents the sole Met broadcast of Maria Callas (1923-77). Callas’s Met career was frustratingly meager: in three seasons, she sang just twenty-one performances. Her company debut, in Norma, on October 29, 1956, was preceded by artistic triumphs in Europe and Chicago and an avalanche of pre-opening publicity; in his memoirs, Met general manager Rudolf Bing called Callas’s debut – undoubtedly the most exciting of all such in my time at the Metropolitan. The soprano’s first two Met seasons were colored by her dissatisfaction with some of the aging stagings in which the company presented her: the Lucia, for example, dated from 1942, although the soprano wore costumes designed by Ebe Colciaghi for a 1954 La Scala production. A disagreement with Bing over proposed repertory for 1958-59 ended with the diva’s well-publicized ‘firing’; Callas did not return to the Met until 1965, when she sang two Toscas, her final opera performances in the U.S. Callas’s Lucia conductor was Fausto Cleva (1902-71), the Trieste-born maestro who led seventeen of her Met appearances. The afternoon’s Edgardo was Italian lyric tenor Giuseppe Campora (1923-2004), who had joined the Met roster in 1955, as Rodolfo. Enzo Sordello (b. 1927), Callas’s Enrico, was the focus of the soprano’s wrath when she claimed that the Italian baritone held the final note of the ‘Se tradirmi’ duet too long; heard today, Sordello’s action seems the result of confusion rather than malice. Nevertheless, in his memoirs, Bing claims that he canceled the balance of the baritone’s contract after the Lucia matinée contretemps. Greek bass Nicola Moscona (1907-75) sang fifty-seven Lucia Raimondos during his twenty-five seasons with the company; the first of his more than 700 Met performances was as Ramfis in 1937. An even more impressive Lucia record-holder was Ohio-born soprano Thelma Votipka (1906-72), whose more than 1,400 Met performances during her twenty-nine seasons with the company included 116 Alisas. Another American, tenor James McCracken (1926-88), shone as the afternoon’s Normanno; then in his fourth season of singing comprimario parts at the Met, McCracken would leave the company to build his resumé in Europe in the late 1950s. McCracken returned to the Met in triumph in 1963 as the Moor in a new production of Otello and remained one of the company’s best-loved stars until his death.
CARMEN:Bizet
Abel; Dunleavy, Knoop Very, Graves, Perez, Shicoff, Stevenson, Tézier, Josephson, Boutros, Wells
Original Air Date: 01/18/2003
SID.20090104
Shicoff is not a bad Jose, but this is not the most exciting Carmen. In the house, Graves could be quite an attractive Carmen.
LA FORZA DEL DESTINO:Verdi
Schippers; Tebaldi, Tucker, Sereni, Hines, Dunn, Baccaloni
Original Air Date: 03/12/1960
MOD Audio
SID.20090105
Tebaldi and Tucker are famous for their roles in FORZA, but except for two performances in 1956, and the FORZA preceding this broadcast which was halted because of the onstage death of Leonard Warren, these are their only appearances together in it. Tebaldi is not at the vocal peak of her 1958 Naples video (with Corelli and Bastianini) or her Florence performances with Mitropoulos and Del Monaco, but there is still much to enjoy. Leonora is one of Verdi’s greatest challenges, and most performers just don’t have the stuff.
LA BOHÈME:Puccini
Schippers; Albanese, Hurley, Bergonzi, Sereni, Scott
Original Air Date: 02/15/1958
MOD Audio
SID.20090106
This classic performance has been issued on Sony Classical Historical Met CD series as well as MOoD. Albanese goes back more than two decades for her recorded Mimi with Gigli, the classic Toscanini set with Peerce, and this solid performance from Bergonzi. Sereni was the first choice Marcello most evenings, though there are a few appearances by Bastianini and Merrill, but after Scotti’s 146 Marcellos, Sereni is next with 76 and Frank Guarrera third at 71. MacNeil had four park concert Marcellos with the Met, but never in the house onstage. The August 2014 rebroadcast was part of the extensive memorial the Met and Sirius broadcast that week on the occasion of Bergonzi’s passing. A Met singer most beloved. Worth tracking down that 2014 citation for the whole week as many of his broadcasts are on MOoD.
LULU:Berg
Levine; Malfitano, Mazura, Troyanos, Hamilton, Foldi
Original Air Date: 04/02/1988
SID.20090107
Lulu is not a regular item for many, but Mazura and Troyanos were specialists, and Leighton Kerner, the late Village Voice critic found her the most satisfying of 11 Lulus he had encountered. It’s sad that the Dexter production which was telecast with Migenes (replacing Stratas) has not made its way to Met OperaonDemand, but is on a Met issued DVD in the Levine 40th anniversary DVD box.
DIE ZAUBERFLÖTE:Mozart
Foster; Popp, Kuebler, Duesing, Donat, Macurdy
Original Air Date: 02/07/1981
MOD Audio
SID.20090208
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 three years later, and then 11 years later moves down to Pamina in this broadcast She’s a very fine Pamina, but overall 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.
MACBETH:Verdi
Leinsdorf; Warren, Rysanek, Hines, Bergonzi
Original Air Date: 02/21/1959
MOD Audio
SID.20090209
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.
MANON LESCAUT:Puccini
Santi; Freni, Dvorsk, Schexnayder, Tajo
Original Air Date: 03/17/1990
SID.20090210
This is Freni’s only Met broadcast of Manon Lescaut (she did three performances in 1984 as well), and she is one of my favorite Manons even though she is well into the veteran stage. Dvorsky is acceptable, but not lots of good Des Grieux available in 1990 (a much more challenging part than the Massenet). Santi understands the tradition well. Freni saved Manon for close to the end of her career. Luckily she made a great recording with Pavarotti and Levine under Met auspices (Bartoli as the madrigal singer! Taddei as Lescaut) Still, she’s a fine Manon Lescaut, and deserves a better supporting cast and conductor than she gets. The Met has some great broadcasts including two Bjorlings that have been on Sirius and are in MetOpera on Demand.
LA JUIVE:Halévy
Viotti; Isokoski, Shicoff, Futral, Cutler, Furlanetto
Original Air Date: 12/13/2003
MOD Audio
SID.20090211
Viotti died only a year or so after premiering the Juive. He was a real talent, and Shicoff, Isokoski and Furlanetto all bring their considerable talents in a production transferred from Vienna. This is the Met’s first season since the mid 1930s and its only broadcast to date. Some early 1930s operas were broadcast but don’t exist. La Juive was never broadcast until 2003.
L’ASSEDIO DI CORINTO:Rossini
Schippers; Sills, Verrett, Di Giuseppe, Díaz
Original Air Date: 01/17/1976
SID.20090212
The following season also with Sills and Verrett under Woitach) are the Met broadcast history of this problematic Rossini work, and both are on MOoD. Verrett is in top form, but I find Sills too late for these assumptions. The work seems to be edited for these performances and is a jumble. Barbiere remains a miracle and though done to death, still sparkles.
Saint-Saëns
Cooper; Vinay, Stevens, Merrill
Original Air Date: 11/26/1949
SID.20090213
I like Samson, but not quite as much as Sirius. Some listeners don’t cotton to Vinay, but I find him OK. This is Merrill’s first Met High Priest, and if not Gabriel Bacquier or Martial Singher, he has some major vocal trumps to play. I find Stevens a bit lacking on tonal voluptuousness for the part. Visually of course she had a lot to offer.
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090214
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.
LULU:Berg
Levine; Malfitano, Mazura, Troyanos, Hamilton, Foldi
Original Air Date: 04/02/1988
SID.20090316
Lulu is not a regular item for many, but Mazura and Troyanos were specialists, and Leighton Kerner, the late Village Voice critic found her the most satisfying of 11 Lulus he had encountered. It’s sad that the Dexter production which was telecast with Migenes (replacing Stratas) has not made its way to Met OperaonDemand, but is on a Met issued DVD in the Levine 40th anniversary DVD box.
WERTHER:Massenet
Runnicles; Hampson, Graham, Evans, Robertson
Original Air Date: 01/23/1999
MOD Audio
SID.20090321
This revival had the title role moving to baritone hands (in Massenet’s own transposition) (still too high for Domingo?), but this broadcast catches Susan Graham in one of her very best afternoons. This is the baritone version Massenet wrote for Battistini. It however catches Susan Graham in particularly splendid voice. This is a novelty for if there were ever a tenor opera it is Werther, but the composer did arrange for baritone for Battistini. Hampson is very earnest.
AGRIPPINA:Handel
Harry Bicket: Joyce DiDonato, Brenda Rae, Kate Lindsey, Iestyn Davies, Matthew Rose
Original Air Date: 02/29/2020
Live in HD
SID.20090640
Handel’s tale of intrigue and impropriety in ancient Rome receives its first Met performances, with star mezzo-soprano Joyce DiDonato as the controlling, power-hungry Agrippina and Harry Bicket conducting. Sir David McVicar’s production ingeniously reframes the action of this black comedy about the abuse of power to “the present,” where it should loudly resonate. The all-star cast features mezzo-soprano Kate Lindsey as Agrippina’s son and future emperor Nerone, soprano Brenda Rae as the seductive Poppea, countertenor Iestyn Davies as the ambitious officer Ottone, and bass Matthew Rose as the weary emperor Claudius. This production was originally created by the Théâtre Royal de la Monnaie / De Munt Brussels and adapted by the Metropolitan Opera
Intermission
Backstage Pass 1 – HD Host Deborah Voigt interviews Joyce DiDonato
Backstage Pass 2 – HD Host Deborah Voigt interviews Brenda Rae and Iestyn Davies
Mary Jo Hearth interviews Evgeny Nikitin about Der Fliegende Hollände
Backstage Pass 3 – HD Host Deborah Voigt interviews Kate Lindsey and Matthew Rose
LES CONTES D’HOFFMANN:Offenbach
Cambreling; Lima, Van Dam, Mills, Forst, Malfitano, Boozer
Original Air Date: 12/23/1989
SID.20100102
Lima is much stretched by Hoffmann, but he was very sympathetic on stage. The three lady casting is good, and Van Dam is excellent as the villains, his only Met season in them.
TOSCA:Puccini
Schick; Nilsson, Domingo, Dooley
Original Air Date: 02/15/1969
SID.20100103
This is Domingo’s Met broadcast debut. Check Nilsson five years earlier in a Met broadcast from Boston with Corelli and George London (interestingly also with Schick). Nilsson’s a great singer, she had premiered a new production five months earlier than this broadcast with Corelli and Bacquier. This is Nilsson’s first Met performance with Domingo; their total remaining Met are three Turandots culminating in the broadcast the following season. This is her second and last Met Tosca broadcast—her earlier one in 1964 was from Boston with Corelli, and has not been on Sirius. She premiered the 1968 production with Corelli the fall before this broadcast with Bacquier.
DIE ENTFÜHRUNG AUS DEM SERAIL:Mozart
Rudel; Malfitano, Araiza, Korn, Blegen, Creech
Original Air Date: 03/31/1984
SID.20100104
Malfitano sings well if not finally in the commanding manner the music requires and so rarely gets. Korn is pretty weak tea after Moll’s unbeatable Osmin that had premiered the production. Araiza is an interesting figure. Moving on to Walther in Meistersinger was a mistake. Karajan picked him for his Tamino, this was his Met debut season.
NABUCCO:Verdi
Levine; Pons, Guleghina, Ramey, Casanova
Original Air Date: 03/24/2001
SID.20100105
The telecast (on MOoD) and DVD replace Casanova with Gwyn Hughes Jones. Chorus is solid (but better since Palumbo) and Pons, Guleghina, and Ramey are all ok, with Ramey beginning his wobble phase. He has Zaccarias in other houses that are better, but this is pretty much ok, just defintely not his peak (which is very good indeed). Check the broadcast with Susan Neves and Ataneli from 2003 also with Ramey. What is on MOoD is the Met premiere season of Nabucco with MacNeil and Siepi in excellent form and Rysanek doing full engagement with Abigaille, not always successfully.
THE GAMBLER:Prokofiev
Gergiev; Galouzine, Guryakova, Alexashkin, Obraztsova
Original Air Date: 03/31/2001
SID.20100208
This is the Met broadcast premiere of this work. Seven years later Galouzine and Gergiev are together again for another broadcast at the Met, but with Diadkova in for Obraztsova. Galouzine has been through a lot of heavy singing in the seven years, so this is overall the best bet for experiencing the Prokofiev. Unfortunately, the MOoD only has the 2008 broadcast. In the theatre with lot of intense visuals, this was a most enjoyable production. Even with audio only Gergiev and Galouzine are still powerhouses.
SIEGFRIED:Wagner
Levine; Jones, Johns, Morris, Gjevang, Zednik, Wlaschiha
Original Air Date: 04/10/1993
SID.20100209
This 1993 cycle catches at least three performers in splendid voice: Morris, Zednik, Wlaschiha. Siegfried has not been especially well served on the airwaves. Melchior only has one complete from 1937 (not yet broadcast on Sirius), and the 1951 with Svanholdm and Traubel has also not been heard. Surprisingly Nilsson’s first cycle (1962) Siegfried has also not been heard, and Hopf possibly excepted, the remainder of the cast is extremely strong. Let’s hear prime Frick, Kuen, London, Nilsson, Arroyo (Forest BIrd).This is Gwyneth Jones’ only broadcast Siegfried Brunnhilde from the Met, and my memory is that Johns is a solid Siegfried. This should be in MOoD. This cycle found her in more satisfying voice than usual. Morris (James), Zednik, Wlaschiha, Salminen are just about as well as you can do.
SALOME:Strauss
Reiner; Welitsch, Svanholm, Hoengen, Hotter, Sullivan
Original Air Date: 01/19/1952
SID.20100211
The performance was issued on LP as an upper tier Guild fundraiser. Reiner and Welitsch had caused a sensation in 1949, but the magic was not the same 3 years later, primarily because Welitsch’s voice was well into a steep decline that she never recovered from. The sound is ostensibly better here than 1949, but that is the performance which should be heard on Sirius. This afternoon in 1952 also featured Gianni Schicci with Baccaloni (with Erede conducting, NOT Reiner) which is not being rebroadcast. From 1961-62 season on Salome has been performed without a companion work.
MANON:Massenet
Rosenthal; Malfitano, Gulyás, Holloway
Original Air Date: 02/28/1987
SID.20100212
This was the first Met broadcast of Massenet’s Manon in almost a quarter century, and despite the authentic touches of Rosenthal and Senechal, the Ponnelle production and some casting was a dud. Gulyas who was a cover tenor when not performing in Khovanshchina had been called into duty when Neil Shicoff was suffering from pharyngitis. Several other tenors were pressed into debuts after the broadcast including Jerry Hadley and Gregory Kunde. Can we get the 1959 Manon with De Los Angeles and Gedda which has never been heard on Sirius.
NORMA:Bellini
Bonynge; Sutherland, Horne, Bergonzi, Siepi
Original Air Date: 04/04/1970
MOD Audio
SID.20100213
This is Sutherland/Horne’s first of two Met broadcasts of Norma (both in 1970 but different seasons). One will not find stronger support than Bergonzi and Siepi, and the ladies stand up very well to the competition. This performance is available in MOoD, and if the fall performances are even half this level we will be very lucky indeed. The only appearances I know for Bergonzi as Pollione. Siepi goes back to Milanov and Callas. This is available also on MOoD (Met Opera on Demand) so you can listen to it anytime you want. The ladies’ duet singing is remarkable.
LUISA MILLER:Verdi
Santi; Esperian, Pavarotti, Nucci, Plishka, Koptchak, White
Original Air Date: 03/02/1991
SID.20100214
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
Mackerras; Malfitano, Brubaker, Fox, West
Original Air Date: 04/18/1998
SID.20100315
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.
THE RAKE’S PROGRESS:Stravinsky
Reiner; Conley, Güden, Harrell, Thebom
Original Air Date: 02/14/1953
SID.20100316
This is the American premiere with the composer in attendance. Worth noting is the director for this production is George Balanchine. It’s still a chilly work, but a distinguished afternoon, and the U.S. premiere occurs with this broadcast. Reiner is major in every way.
L’ELISIR D’AMORE:Donizetti
Panni; Pavarotti, Battle, Plishka, Quilico
Original Air Date: 04/29/1989
MOD Audio
SID.20100317
L’Elisir is arguably the most over broadcast repertory opera on Sirius. The opera is a charming confection with lovely vocal turns for both the soprano and tenor, and meaty traditional roles for the buffo bass and the lyric baritone. For superstars like Pavarotti, Florez, and Netrebko, these parts allow them to slide a little, but just because superstars find L’Elisir handy Met repertory selection in the house and on the radio have become very distorted. To be honest the best way to experience Pavarotti’s Nemorino is to hear the Decca studio version with Sutherland from 1970– JoS never did the part onstage, but the vocal gold of this studio recording is anything but hothouse. Second best way to experience Pavarotti’s Nemorino is his 1978 broadcast with Blegen, Corena, and Sereni. The presence of the two best bass clef singers for this opera and a Pavarotti 11 years younger make for a considerable improvement. It’s on MOoD. Also on MOoD and where you should listen to life beyond Pavarotti are the 1972 with Scotto, Bergonzi pairing with Corena and Sereni: 4 native Italians savoring the style to a fare-thee well. Bergonzi has an earlier broadcast with Peters and Guarrera in for Sereni, and Peters has a broadcast with Kraus with Corena and Sereni. All of these are on MOoD and while they’ve all been on Sirius, they are eschewed mostly in favor of more recent performances with less stylish casts.
IL TROVATORE:Verdi
Cleva; Baum, Milanov, Nikolaidi, Warren, Moscona
Original Air Date: 01/16/1954
SID.20100318
This is a little late for Milanov in one of her trademark roles. Her 49 Leonoras are a Met record (Martina Arroyo is number 2 at 29). Still, she definitely has her moments. I find her commercial RCA the most consistent of her Leonoras. Baum is Baum, and his 60 Manricos are second only to Martinelli’s 69. Tenors generally do not stay long with this role with most of the major singers including Caruso hover only around a dozen. This is Nikolaidi’s only Met broadcast (her only other role is Amneris in which she debuted on opening night two seasons earlier). Leonard Warren really owned Luna, so I was somewhat suprised to realize that his 45 Counts ties him for second; Merrill has 73 (!!!!!) and Milnes is not far behind Warren at 37. The high tessitura suits Warren best of all and always worthy of a listen.