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.
FIDELIO:Beethoven
Schneider; Meier, Botha, Fink, Salminen, Hong, Clarke
Original Air Date: 12/07/2002
MOD Audio
SID.20110102
Botha sings well enough, as does Fink with Meier and Schneider. Salminen does not appear often outside the Wagner repertory at the Met and this is a particularly congenial role for him. Schneider is not famous as an inspiring conductor. It’s not a weak cast. Available in MOoD
A Love Supreme: Ruth Bader Ginsburg:Anon
Ruth Bader Ginsburg
Original Air Date: 03/09/2020
SID.20110103
U.S. Supreme Court Justice Ruth Bader Ginsburg recently sat down with SiriusXM to discuss one of her loves — classical opera. Fans can hear Ginsburg’s special, A Love Supreme: Ruth Bader Ginsburg on Opera, on SiriusXM’s Met Opera Radio (Ch. 75). Recorded at the U.S. Supreme Court, Ginsburg hand-picked more than a dozen classics and commented on many of her favourites in conversation with Met Opera Radio Program Director Julie James. But this special goes beyond simple symphony commentary — Ginsburg also recalled the freeing act of experiencing a performance (which is likely no small feat in her seemingly tireless line of work) and dove into some of her earliest memories of opera. My passion for opera began in 1944, Ginsburg said. I was 11 years old and my aunt — who taught English in a middle school in Brooklyn, New York — took me to a high school where there was an abbreviated performance of La Gioconda. I was just blown away by it. I’d never heard such glorious music.
LE NOZZE DI FIGARO:Mozart
Levine; Van Dam, Battle, Söderström, Hynninen, von Stade
Original Air Date: 02/07/1987
SID.20110104
This is the second year of the Ponnelle production, and plenty of interesting casting with Battle and von Stade the only holdovers. This is Montarsolo’s farewell, the real star is Levine welding the whole ensemble together.
DEATH IN VENICE:Britten
Bedford; Pears, Shirley Quirk, Velis
Original Air Date: 12/14/1974
MOD Audio
SID.20110105
The Met saw the USA premiere of Britten’s Death in Venice and for the Met debut of Peter Pears. His only other role at the Met was Captain Vere in Billy Budd four years later; fortunately both of Pears’ roles are on MOoD. Death in Venice can be a hard sit despite all the talent involved.
RIGOLETTO:Verdi
Stivender; MacNeil, Blegen, Alexander, Hines, Jones
Original Air Date: 03/03/1979
SID.20110106
This is MacNeil’s final Met broadcast of the title role– he has the house record at 102 (5 broadcasts); Sirius should roll out MacNeil’s first Rigoletto broadcast from 1960, when he is really in super-baritone form or even 1964 with Bergonzi’s first Duke broadcast. Blegen is tied for fourth after Peters (88!!!!!! one for every piano key), Pons, and Swenson who are tied for second. Blegen’s earlier broadcast is on Met Opera on Demand (MOoD) and she is one of my favorite Gildas. Alexander is a dependable Duke, but he has some stiff competition . He was a fine musician, marvelous colleague, and sustained among the most-wide ranging Met repertoire (and without need of transpositions). A very favored colleague of Sutherland, Caballe, Sills, and Levine.
L’ITALIANA IN ALGERI:Rossini
Levine; Horne, Ahlstedt, Montarsolo, Monk
Original Air Date: 01/04/1986
MOD Video
SID.20110107
This performance precedes the telecast by one week and that telecast is available in MOoD. For me, the distinction of the performance is mostly Montarsolo. Isabella is Horne’s second most performed role at 37 (Carmen unsurprisingly is first at 49) Her 3d is Adalgisa in Norma (all with Sutherland). MOD is 1/11/86 performance with same cast.