COSÌ FAN TUTTE:Mozart
Original Air Date: 02/27/1982
Levine; Lorengar, Rendall, Ewing, Carlson, Battle, Gramm
MOD Audio SID.19380531
This is Lorengar’s broadcast farewell (actual farewell the following week) in one of her best roles. I saw her in this Met run as well as her DC appearance with her home company, Deutsche Oper, Berlin under Bohm. Ewing is a delicious Dorabella, and Levine knows how to make this work grab you.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.19380532
Tebaldi loved the part of Adriana, but this broadcast finds her in rather frayed voice (after more than 30 Giocondas the previous two seasons). Corelli, Dalis, and Colzani are strong support.
IL TROVATORE:Verdi
Original Air Date: 04/09/1977
Veltri; McCracken, Scotto, Verrett, Quilico, Smith
SID.19380533
Azucena is one of Verrett’s best roles, and she has three excellent broadcasts, 1971, this one, and a 1987 performance which is Sutherland’s farewell. Scotto understands the style, but a smoother, more velvety voice is called for. McCracken who is 3d in Met Manricos (only Martinelli’s 69 and Baum’s 60 are higher has only one other Trovatore broadcast from 1969 which is Bumbry’s only Met broadcast Azucena. Could we get that rebroadcast on Sirius sometime? Bumbry is severely underrepresented on Met Opera on Demand with only one Amneris, one Carmen, and one Salome. She’s a Kennedy Center honoree, and has many distinguished broadcasts. McCracken only has 4 performances in MOoD, the same as Baum.
ARABELLA:Strauss
Original Air Date: 03/17/1984
Janowski; Andrade, Nentwig, Battle, Rendall, Dunn, Mazura
SID.19380535
I like Janowski very much as a conductor, but the substitution of Andrade for Te Kanawa who did the rest of the run lowers the voltage considerably, and Nentwig is not a high profile Mandryka for my taste; here was a role George London was absolutely perfect for, and it’s a shame the translation challenges of Sirius seem to keep the Kempe led Met premiere season off the air with Steber and London truly inspired. The problems with translations fall on deaf ears here since the translation was by John Gutman, longtime Met asst. Manager. For real value rebroadcast this less often and get London and Steber on the air– it’s the Met at its best.
TOSCA:Puccini
Original Air Date: 04/17/1965
Cleva; Crespin, Kónya, Merrill
SID.19380636
Crespin the first singer to repeat Tosca in more than a decade before the Met broadcast microphones. if you savor the Gallic tang with a dollop of Roman pepper, she is a fine Tosca. This performance has been on before, but they don’t overuse it. She was the first Tosca to repeat her Floria on the airwaves. Bing had 9 different Toscas from 1952 until 1968 when Crespin repeated with a slightly better cast. Both have been on Sirius. This broadcast finds her in marginally better voice, and is Merrill’s only Scarpia broadcast (he only has 12) and while no match dramatically for Warren or early MacNeil (Gobbi never broadcast the role from the Met), Merrill certainly has some vocal artillery to display. Arguably the most beautiful baritone voice and right up there at the very top in any vocal category.
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380637
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380638
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 03/24/1979
Järvi; Mazurok, Kasrashvili, Shicoff, Jones, Plishka
SID.19380639
As much as I enjoy Hvorostovsky’s Onegin, I will never forget Mazurok live. He broadcasts the opera twice in 1979 (but in two separate seasons) and he is great both times. Kasrashvili is very good as is Shicoff. Mazurok’s later performance is Kabaivanska’s Met farewell and with Gedda under Tchakarov. I slightly prefer this one as Shicoff is heard too little on Met broadcasts, and this is one of his best roles. This peformance should be in MOoD. *** I always have time for Mazurok’s Onegin. While he may not have evoked the visualfrissons that Hvorostovsky regularly manages, when it comes to vocalism Mazurok was the Russian Robert Merrill, but with stylistic authenticity for his native repertoire. This performance has a lot of energy to it, and Kasrashvilil and Shicoff give their all. Credit to Jarvi for his leadership. *** This is the first of Mazurok’s 2 Onegin broadcasts (the second is only 9 months later in the next season), but I prefer this one because of Jarvi’s conducting. Mazurok was for me the Russian Merrill (meant as the highest compliment). We saw too little of him because this was not the best time for Soviet-American relations. He is thrilling here.
WERTHER:Massenet
Original Air Date: 01/10/2004
Lacombe; Alagna, Kasarova, Petrova, Schaldenbrand
MOD Audio SID.19380641
Alagna has had steady employment at the Met in the last decade and his Werther is a solid accomplishment. Kasarova was not to my taste in the theater and even less so in audio only. Alagna made a hasty exit around the time of 9/11 and with the new Faust production (with Isokowski and Pape under Levine) in 2003. The following year this Werther showed him on good behavior, but I find Kasarova’s voice totally wrong for Massenet, and she didn’t make for much electricity with Alagna. Werther is more popular than Manon these days– a good bit shorter, and the Manon leads harder to cast well. In light of the mercurial (and new papa to be) Alagna, it will be interesting to hear this again. Kasarova took multiple attempts before finally showing up at the Met, and I felt her unusual timbre was not a good fit for Charlotte, nor an especially congenial match for Alagna. In many ways I feel as if Alagna sings better today. Let’s see if I feel the same way listening to this broadcast. When I saw this in the house in 2004 with this cast I was pretty disappointed. This was when Alagna’s singing was not really appealing at all. He had the style down, but I wish he would return to Werther with the kind of singing he has been doing the last two seasons. Both of Kraus’ fine performances (one with Crespin, the other with von Stade) are on Met Player.
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MIGNON:Thomas
Original Air Date: 01/27/1945
Pelletier; Stevens, Melton, Benzell, Pinza
MOD Audio SID.19380642
“There are some great tunes in Mignon but I find the opera doesn’t hold up well — I saw it staged in Dallas with Horne (1974), and it was a LONG evening. Pinza is very fine here. Mignon’s last broadcast appearance is 3 years later with Marilyn Cotlow as Philine which is more than 6 decades ago. That Mignon “”farewell”” has not been on Sirius.”
GIULIO CESARE:Handel
Original Air Date: 04/17/1999
Nelson; Larmore, McNair, Daniels, Blythe, Asawa
MOD Audio SID.19380743
This is the first Met broadcast of Cesare as the 1988 production with Troyanos and Battle was not broadcast (a special shame because of Troyanos’ way with Handel) This was an early success for both Blythe and Daniels, but this is still not my work — too many countertenors and too few ensembles. Brian Asawa recently passed away, and was one of the major groundbreaking countertenors.
IL BARBIERE DI SIVIGLIA:Rossini
Original Air Date: 04/07/1973
Levine; Prey, Horne, Di Giuseppe, Corena, Tozzi
MOD Audio SID.19380744
From 1954 until 1976 Fernando Corena was the only Dr. Bartolo to appear on the Met airwaves. Of all Corena’s distinctive characterizations, none rank higher than Bartolo. It would be worthwhile for the Met to unearth its experimental taping (with NHK of Japan) from November 1968 so people could get a taste of his visuals as well. The byplay of Corena with Horne, as well as with familiar bass clef tandem, Tozzi are a special delight.
COSÌ FAN TUTTE:Mozart
Original Air Date: 02/27/1982
Levine; Lorengar, Rendall, Ewing, Carlson, Battle, Gramm
MOD Audio SID.19380745
This is Lorengar’s broadcast farewell (actual farewell the following week) in one of her best roles. I saw her in this Met run as well as her DC appearance with her home company, Deutsche Oper, Berlin under Bohm. Ewing is a delicious Dorabella, and Levine knows how to make this work grab you.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.19390101
Tebaldi loved the part of Adriana, but this broadcast finds her in rather frayed voice (after more than 30 Giocondas the previous two seasons). Corelli, Dalis, and Colzani are strong support.
Various:Various
Original Air Date: 01/01/9999
Various Artists
SID.19390211
Various selections between scheduled operas. Siriusxm Radio and web player will show the Composer and Title.
SIMON BOCCANEGRA:Verdi
Original Air Date: 02/06/2010
Levine; Domingo, Pieczonka, Giordani, Morris, Gaertner
SID.19390214
This is the broadcast that was paired with the Live in HD transmission. I actually prefer the following year’s Boccanegra when Hvorostovsky moves into the title role, and Frittoli and Furlanetto have more to offer.
LA CENERENTOLA:Rossini
Original Air Date: 01/24/1998
Levine; Larmore, Vargas, Alaimo, Corbelli
MOD Audio SID.19390422
The 2000 broadcast with Larmore features Campanella and Gimenez. This 1998 broadcast is the original cast from the fall 1997 premiere except with Larmore for Bartoli. The Bartoli performance is preserved on video on MOoD. New York has seen a lot of Cenerentola in the 17 years since it premiered– Bartoli, Larmore,Borodina, Ganassi, Garanca, DiDonato. Neither Borodina nor Ganassi were broadcast– I liked Borodina very much and the Ganassi performances featured Florez’ first NYC Ramiros.
NABUCCO:Verdi
Original Air Date: 02/26/2005
Levine; Putilin, Guleghina, Buchuladze, Hughes Jones
SID.19390423
LUCIA DI LAMMERMOOR:Donizetti
Original Air Date: 12/11/1999
Müller; Swenson, Vargas, Nucci, Pertusi
SID.19390424
Vargas did some very nice early Edgardos at the Met (I remember one with Futral) and Nucci should also be a strong Enrico. This is the second season for Swenson in a Nicholas Joel production she premiered which replaced the disastrous Zambello production. Solid support from the male contingent for her. If they’re going to put Anderson in MOoD (with Leech and Fu), Swenson should be as well, and this is a stronger male cast.
LA BOHÈME:Puccini
Original Air Date: 01/25/1969
Adler; Tucci, Labò, Fenn, Walker, Díaz
SID.19390425
Not a gala Boheme, but it’s nice to have two Italians in the leads. Tucci was a first rate lyric soprano, and Labo sounds very major compared to some of the second tier guys who have been doing Puccini leads. February 1 is Labo’s birthday which he shares with a far more famous Mimi, Renata Tebaldi.
SIMON BOCCANEGRA:Verdi
Original Air Date: 02/06/2010
Levine; Domingo, Pieczonka, Giordani, Morris, Gaertner
SID.19390426
This is the broadcast that was paired with the Live in HD transmission. I actually prefer the following year’s Boccanegra when Hvorostovsky moves into the title role, and Frittoli and Furlanetto have more to offer.
SAMSON ET DALILA:Saint-Saëns
Original Air Date: 04/12/1958
Cleva; Del Monaco, Stevens, Singher
MOD Audio SID.19390427
Del Monaco never did a studio version of Samson so this performance is welcome. Singher came in 1943 to the Met and makes his farewell eight months after this Samson broadcast doing the two performances of the four Hoffmann villains. He’s an important part of the Met’s French wing with both Pelleas and Golaud in two different revivals. He went on to be a major teacher at the Curtis Institute, with James King his most notable student. This performance is available on MOoD, and good to have it since Del Monaco never did a studio version
SIEGFRIED:Wagner
Original Air Date: 04/15/2000
Levine; Eaglen, Svendén, Andersen, Clark, Morris, Wlaschiha
SID.19390428
This is Andersen’s Met debut and the first of Eaglen’s two broadcast Siegfried Brunnhildes. To me, the treat in Siegfried is always Morris, and especially the 3rd act scenes with Erda and Siegfried.
BILLY BUDD:Britten
Original Air Date: 04/14/1984
Atherton; Duesing, Cassilly, Morris, Glossop, Clark
SID.19390530
The Dexter/Dudley Billy Budd is a Met classic, and Morris is at the top of his considerable form as Claggart in this third broadcast of a production premiered in 1978.
DIE ZAUBERFLÖTE:Mozart
Original Air Date: 03/04/1967
Krips; Raskin, Shirley, Uppman, Peters, Macurdy
MOD Audio SID.19390531
First year in the new house, the Chagall production premiered with the Europeans (Lorengar, Popp, Gedda, Prey) plus Hines, but the Americans in the cast above got the broadcast. I liked Krips conducting very much. Popp did broadcast her Queen 3 years later, but this performance has not been on Sirius. Skrowacewski is the conductor, Zylis-Gara is the Pamina, but Popp, Gedda, Prey are all picked up from the premiere cast, and it’s the only German broadcasts of their roles. Sirius should definitely fill in this gap. In 1967 Macurdy was actually fresher of voice than Hines, but mostly this cast was definitely second class.
RIGOLETTO:Verdi
Original Air Date: 01/05/1957
Cleva; Merrill, Güden, Peerce, Tozzi, Roggero
SID.19390532
This exact same cast broadcast Rigoletto four years earlier– Bing could be very much a creature of habit. Also the exact same trio of leads as the 1953 performance except Erede was in the pit. This is Merrill probably at his vocal peak (the Rigoletto broadcasts would mostly alternate between Warren (often with Tucker) and Merrill, with Tucker’s brother-in law. Luxury indeed. Let me put in a word here for the 1960 Rigoletto which has MacNeil’s first broadcast jester, Giaiotti as Monterone and Tozzi in the third of his three broadcast Sparafuciles. 1957 like so many years was an extraordinary year for Merrill’s instrument. Take a listen. A note on representation in MOoD for Rigoletto. There is no performance represented there between 1945 and 1973. The 1945 shows Warren at close to his vocal best, but no representation of Tucker’s Duke– four broadcasts from 1951-1972, nor Peerce’s, the 1960 for MacNeil, and no Merrill Rigoletto at all, and the same for Peters’ Gilda. Considering some of the mediocre Rigolettos that ARE included, this is one of the worst gaps in terms of match of Sirius/ MOoD to actual Met performance and broadcast history.
IDOMENEO:Mozart
Original Air Date: 03/25/1995
Levine; Domingo, Upshaw, Vaness, von Otter, Davies
MOD Audio SID.19390317
Levine is an excellent Idomeneo conductor, and Vaness is the best of the Met Elettras. Upshaw is a bit light
DIE ZAUBERFLÖTE:Mozart
Krips; Raskin, Shirley, Uppman, Peters, Macurdy
Original Air Date: 03/04/1967
MOD Audio
SID.19400101
First year in the new house, the Chagall production premiered with the Europeans (Lorengar, Popp, Gedda, Prey) plus Hines, but the Americans in the cast above got the broadcast. I liked Krips conducting very much. Popp did broadcast her Queen 3 years later, but this performance has not been on Sirius. Skrowacewski is the conductor, Zylis-Gara is the Pamina, but Popp, Gedda, Prey are all picked up from the premiere cast, and it’s the only German broadcasts of their roles. Sirius should definitely fill in this gap. In 1967 Macurdy was actually fresher of voice than Hines, but mostly this cast was definitely second class.
DIE MEISTERSINGER VON NÜRNBERG:Wagner
Schippers; Adam, Lorengar, King, Kusche, Flagello, Driscoll
Original Air Date: 01/15/1972
MOD Audio
SID.19400316
This performance is on Sony’s Met historical CD series Lorengar and King, who do not have commercials of their portrayals are fine exponents of their roles, and Kusche is a long respected Beckmesser. Adam split the Sachs with Tozzi, and at this point Adam was probably the better choice.
ELEKTRA:Strauss
Nezet-Seguin; Goerke, van den heever, Schuster, Morris, Petrenlo
Original Air Date: 03/18/2018
SID.19400317
Christine Goerke sings her first Elektra at the Met in Patrice Chéreau’s landmark production, a sensation at its Met premiere last spring, which the Wall Street Journal called “revolutionary … a triumph on all fronts.” Yannick Nézet-Séguin conducts Strauss’s shattering score, a tour de force for the singers and the orchestra alike. Opening night (3-1-2018) is dedicated to the memory of Patrice Chéreau.