DER ROSENKAVALIER:Strauss
Original Air Date: 02/08/1969
Böhm; Ludwig, Rysanek, Berry, Grist, Knoll
MOD Audio SID.19280638
This production had its final performances in 2013-2014 with Martina Serafin, and Alice Coote. I remember the premiere of this Nathaniel Merrill/Robert O’Hearn production. The opening of the second act almost blinded the audience. Bohm, Ludwig, Rysanek, and Berry all rank very high in their portrayals in this opera, and for me only Grist was a little undercast for a house the size of the Met. Glad it’s returning to the Sirius airwaves, and even happier that it’s in MOoD. Gedda is lagniappe indeed as the Italian Singer.
LA BOHÈME:Puccini
Original Air Date: 03/17/2001
Crawford; Gauci, Lopardo, Arteta, Finley, Bernstein
SID.19280639
CARMEN:Bizet
Original Air Date: 01/12/1974
Lewis; Horne, McCracken, Amara, Reardon
MOD Audio SID.19280640
I’m rather down on this performance from its most recent rebroadcast. Lewis’conducting lacks snap or allure, and Horne without Bernstein to challenge her seems too wayward for me. If you want to sample Horne and McCracken, listen to the studio based on the first performances of the production from the previous season; the March 1973 broadcast (same cast except Krause for Reardon) is only slightly better. Check the DG recording with Lenny.
L’ITALIANA IN ALGERI:Rossini
Original Air Date: 01/04/1986
Levine; Horne, Ahlstedt, Montarsolo, Monk
MOD Video SID.19280641
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.
AIDA:Verdi
Original Air Date: 02/20/1954
Cleva; Milanov, Baum, Barbieri, Warren, Hines
MOD Audio SID.19280642
Milanov, Barbieri, Warren and Hines are major Aida players any way you look at it. I used to have some cavils about Warren’s lack of equalization, but after the Verdi baritone singing I’ve endured the last quarter century, I am always grateful to encounter him in one of his signature roles.
FIDELIO:Beethoven
Original Air Date: 02/22/1941
Walter; Flagstad, Maison, Huehn, Kipnis, Farell, Laufkötter
SID.19280743
This performance is important on several counts: 1) it comes only a week after Walter’s Met debut and marked his first appearances in the USA as an opera conductor—he had led symphonic ensembles for close to a decade. Flagstad was concluding her pre-war Met career (9 performances, half of them on tour and she was to be gone for a decade). The supporting cast is of high quality, but the real hallmarks are Walter’s conducting and her luminous Leonore. They can be sampled in MOoD in Flagstad’s return in 1951. Having a voice with the quality of Kipnis is another recommendation for including this performance in MOoD as well.
SIMON BOCCANEGRA:Verdi
Original Air Date: 03/03/2007
Luisi; Hampson, Gheorghiu, Giordani, Furlanetto, Gerello
MOD Audio SID.19280744
Simon is one opera that gets regular outings at the Met, though not necessarily everywhere, starting with the titanic duo of Tibbett and Pinza, both of whom are still my standard in Simon and Fiesco (but not yet appearing on Sirius). I am not a big fan of Hampson’s traversal of the Verdi baritone repertoire. This was followed with another MOoD broadcast (video) with Domingo moving up to the title role under Levine. For me the best of the recent SBs was the FOLLOWING year when Levine did a short revival with Hvorostovsky (not always my choice for Verdi either) with Frittoli, Vargas, and Furlanetto, where Levine seems at his most inspired– he’s conducted 1/3 of all Boccanegras at the Met, and this performance is now out on MOoD as well. Somehow this performance did not make it in to MOoD– it should.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 03/18/1978
Caldwell; Pavarotti, Blegen, Corena, Sereni
SID.19280745
My memory of Caldwell’s conducting (her Met farewell) is not so positive; this is the second of three Blegen/Pavarotti Elisirs. For me Sereni and Corena, especially Corena have never been replaced in these roles. Corena’s near monopoly of Dr. Dulcamara is totally deserved. It is just a shame that there are not more video representations of his very considerable art. A particular word of praise for Sereni, whose recent passing reminds us of what a reliable artist he was. The best Elisir for my money is the all Italian one from 1972 with Scotto, Bergonzi, Sereni, and Corena (on MOoD); there is an earlier broadcast (1966) which is on MOoD and Sony CD which substitutes Peters and Guarrera under Schippers for Scotto and Sereni. MOoD covers all this ground plus a fine broadcast with Peters and Kraus from 1968 with again Sereni and Corena.
LE NOZZE DI FIGARO:Mozart
Original Air Date: 01/11/1958
Leinsdorf; Tozzi, Güden, Della Casa, London, Miller
SID.19280746
Sirius honors Giorgio Tozzi who died May 30, 2011 at the age of 88. Leinsdorf and three members of this cast moved on to Vienna to record Figaro (Peters for Guden, and Elias for Miller on the recording are new) A used copy on Amazon was asking $172. This performance has been on before , but my memory of Della Casa, Guden and London are mostly from other broadcasts, so I’ll definitely take a listen. Bing did a lot of Nozze — this round of performances comes just before a new production two seasons later also with Leinsdorf. The other four performances feature cast changes in every part . A nice cast, but make sure this is the chemistry you want.
MAZEPPA:Tchaikovsky
Original Air Date: 03/18/2006
Gergiev; Putilin, Guryakova, Balashov, Burchuladze, Diadkova
SID.19280747
This is the only Met broadcast of Tchaikovsky’s powerful work. This performance is notable for Tchaikovsky’s powerful music, Gergiev’s assured conducting, and Putilin giving his considerable all to the title role. This is offbeat repertory that I’m glad we’ve had. Gergiev and Putilin make a strong case for hearing the work more often. It should really be on MOoD.
GÖTTERDÄMMERUNG:Wagner
Original Air Date: 01/27/1962
Leinsdorf; Nilsson, Hopf, Frick, Mittelmann, Kuchta, Dalis
MOD Audio SID.19280748
This is a magnificent performance with Nilsson and Frick among the best ever in two of the most challenging roles in the repertoire. The rest of the cast are seasoned performers who certainly bring something special. This was possibly the first uncut broadcast Gotterdammerung, though that now seems commonplace.
GÖTTERDÄMMERUNG:Wagner
Original Air Date: 01/27/1962
Leinsdorf; Nilsson, Hopf, Frick, Mittelmann, Kuchta, Dalis
MOD Audio SID.19280749
This is a magnificent performance with Nilsson and Frick among the best ever in two of the most challenging roles in the repertoire. The rest of the cast are seasoned performers who certainly bring something special. This was possibly the first uncut broadcast Gotterdammerung, though that now seems commonplace.
CAPRICCIO:Strauss
Original Air Date: 01/31/1998
Davis; Te Kanawa, Rootering, Kuebler, Keenlyside, Brendel, Harries
MOD Audio SID.19290104
The Met has only had two matinee broadcasts for Strauss’ final work: this one with Te Kanawa and Fleming in 2012. Andrew Davis conducted both revivals. Clairon was a famous role for Troyanos and luckily it is captured on a San Francisco telecast with Te Kanawa, but she died in 1993, which I guess is one reason for the more lightweight casting. Te Kanawa is definitely worth hearing.
IL BARBIERE DI SIVIGLIA:Rossini
Original Air Date: 03/06/1954
Erede; Merrill, Peters, Valletti, Corena, Siepi
MOD Audio SID.19290105
This broadcast, a month after the production’s premiere is among the most vocally potent Barbieres in the history of the Met, and the RCA recording under Leinsdorf only substitutes Tozzi for Siepi for the main cast. This is Peters at ther best, and I find the male contingent very satisfying indeed. No Cessa di piu resistere though Valletti did include it on the RCA recording. Don’t miss. This production was recorded by RCA with Leinsdorf for Erede, and Tozzi for Siepi, but the rest of the cast intact. Merrill and Peters are both very fine, but it is the three Italians who give performances to savor. Corena was never in second tier with his Bartolo, and the recitatives with Siepi absolutely magical. A spirited ensemble and you can hear it in uncompressed sound on MOoD any time you want. Highly recommended.
COSÌ FAN TUTTE:Mozart
Original Air Date: 04/09/1988
Epstein; TeKanawa, Rendall, Montague, Hagegård, Hong, Cheek
MOD Audio SID.19290213
While the Met casting for Zauberflote may not always leave a memorable result, the broadcast annals have a number of fine Cosis, and this is one. Max Epstein, who was Levine’s chief assistant for several years before dying much too young (the Walkure studio recording is dedicated to him as he did the major musical preparation). Te Kanawa always found Fiordiligi one of her most congenial assignments (and other Met Fiordiligis include such fine exponents as Steber (only available in the Sony studio recording because all her broadcasts are in translation), Vaness, Fleming (not on the airwaves, but a great studio recording, and a fine run at the Met), Lorengar (who followed TeKanawa in the new production and did the broadcast).
LA GIOCONDA:Ponchielli
Original Air Date: 01/03/1953
Cleva; Milanov, Baum, Warren, Barbieri, Siepi
MOD Audio SID.19290214
This is a big voiced Gioconda cast– the work does not call for chamber voices and this is the third of Milanov’s 7 broadcasts of the street singer. Baum is on a lower plane than the other starry principals, but for Gioconda aficionados (I’m one), this is a performance to enjoy.
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 04/19/1997
Pappano; Chernov, Gorchakova, Farina, Tarassova, Ognovenko
MOD Audio SID.19290315
We hear so much more of Onegin these days, and this run is Pappano’s (CGarden music director) only Met appearance. Good to hear Chernov again in retrospect. Turned out to not be the Russian Robert Merrill. Antonio Pappano, though an American resident for some years has ended up basing most of his operatic career as the music director at the Royal Opera House, Covent Garden. The Met thought enough to give him this new production as his debut and only run of Met appearances Chernov was originally brought in as a Russian Robert Merrill. The voice is attractive and smoothly lyric, but not a patch on his countryman, Yuri Mazurok, and at least two sizes too small to even be compared to Merrill. Even in the Met’s own archives, the Peter G. Davis review of the opening night comes in for some very hard knocks musically for both the singers and the conductor. Why this was picked for MOoD when the two Mazurok broadcasts (regularly on Sirius) were not picked gives one pause about performance selection on MOoD.
CAPRICCIO:Strauss
Original Air Date: 01/31/1998
Davis; Te Kanawa, Rootering, Kuebler, Keenlyside, Brendel, Harries
MOD Audio SID.19290320
The Met has only had two matinee broadcasts for Strauss’ final work: this one with Te Kanawa and Fleming in 2012. Andrew Davis conducted both revivals. Clairon was a famous role for Troyanos and luckily it is captured on a San Francisco telecast with Te Kanawa, but she died in 1993, which I guess is one reason for the more lightweight casting. Te Kanawa is definitely worth hearing.
IL BARBIERE DI SIVIGLIA:Rossini
Original Air Date: 03/06/1954
Erede; Merrill, Peters, Valletti, Corena, Siepi
MOD Audio SID.19290321
This broadcast, a month after the production’s premiere is among the most vocally potent Barbieres in the history of the Met, and the RCA recording under Leinsdorf only substitutes Tozzi for Siepi for the main cast. This is Peters at ther best, and I find the male contingent very satisfying indeed. No Cessa di piu resistere though Valletti did include it on the RCA recording. Don’t miss. This production was recorded by RCA with Leinsdorf for Erede, and Tozzi for Siepi, but the rest of the cast intact. Merrill and Peters are both very fine, but it is the three Italians who give performances to savor. Corena was never in second tier with his Bartolo, and the recitatives with Siepi absolutely magical. A spirited ensemble and you can hear it in uncompressed sound on MOoD any time you want. Highly recommended.
LA GIOCONDA:Ponchielli
Original Air Date: 01/03/1953
Cleva; Milanov, Baum, Warren, Barbieri, Siepi
MOD Audio SID.19290423
This is a big voiced Gioconda cast– the work does not call for chamber voices and this is the third of Milanov’s 7 broadcasts of the street singer. Baum is on a lower plane than the other starry principals, but for Gioconda aficionados (I’m one), this is a performance to enjoy.
COSÌ FAN TUTTE:Mozart
Original Air Date: 04/09/1988
Epstein; TeKanawa, Rendall, Montague, Hagegård, Hong, Cheek
MOD Audio SID.19290529
While the Met casting for Zauberflote may not always leave a memorable result, the broadcast annals have a number of fine Cosis, and this is one. Max Epstein, who was Levine’s chief assistant for several years before dying much too young (the Walkure studio recording is dedicated to him as he did the major musical preparation). Te Kanawa always found Fiordiligi one of her most congenial assignments (and other Met Fiordiligis include such fine exponents as Steber (only available in the Sony studio recording because all her broadcasts are in translation), Vaness, Fleming (not on the airwaves, but a great studio recording, and a fine run at the Met), Lorengar (who followed TeKanawa in the new production and did the broadcast).
CAPRICCIO:Strauss
Original Air Date: 01/31/1998
Davis; Te Kanawa, Rootering, Kuebler, Keenlyside, Brendel, Harries
MOD Audio SID.19290530
The Met has only had two matinee broadcasts for Strauss’ final work: this one with Te Kanawa and Fleming in 2012. Andrew Davis conducted both revivals. Clairon was a famous role for Troyanos and luckily it is captured on a San Francisco telecast with Te Kanawa, but she died in 1993, which I guess is one reason for the more lightweight casting. Te Kanawa is definitely worth hearing.
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 04/19/1997
Pappano; Chernov, Gorchakova, Farina, Tarassova, Ognovenko
MOD Audio SID.19290531
We hear so much more of Onegin these days, and this run is Pappano’s (CGarden music director) only Met appearance. Good to hear Chernov again in retrospect. Turned out to not be the Russian Robert Merrill. Antonio Pappano, though an American resident for some years has ended up basing most of his operatic career as the music director at the Royal Opera House, Covent Garden. The Met thought enough to give him this new production as his debut and only run of Met appearances Chernov was originally brought in as a Russian Robert Merrill. The voice is attractive and smoothly lyric, but not a patch on his countryman, Yuri Mazurok, and at least two sizes too small to even be compared to Merrill. Even in the Met’s own archives, the Peter G. Davis review of the opening night comes in for some very hard knocks musically for both the singers and the conductor. Why this was picked for MOoD when the two Mazurok broadcasts (regularly on Sirius) were not picked gives one pause about performance selection on MOoD.
IL BARBIERE DI SIVIGLIA:Rossini
Original Air Date: 03/06/1954
Erede; Merrill, Peters, Valletti, Corena, Siepi
MOD Audio SID.19290638
This broadcast, a month after the production’s premiere is among the most vocally potent Barbieres in the history of the Met, and the RCA recording under Leinsdorf only substitutes Tozzi for Siepi for the main cast. This is Peters at ther best, and I find the male contingent very satisfying indeed. No Cessa di piu resistere though Valletti did include it on the RCA recording. Don’t miss. This production was recorded by RCA with Leinsdorf for Erede, and Tozzi for Siepi, but the rest of the cast intact. Merrill and Peters are both very fine, but it is the three Italians who give performances to savor. Corena was never in second tier with his Bartolo, and the recitatives with Siepi absolutely magical. A spirited ensemble and you can hear it in uncompressed sound on MOoD any time you want. Highly recommended.
COSÌ FAN TUTTE:Mozart
Original Air Date: 04/09/1988
Epstein; TeKanawa, Rendall, Montague, Hagegård, Hong, Cheek
MOD Audio SID.19290745
While the Met casting for Zauberflote may not always leave a memorable result, the broadcast annals have a number of fine Cosis, and this is one. Max Epstein, who was Levine’s chief assistant for several years before dying much too young (the Walkure studio recording is dedicated to him as he did the major musical preparation). Te Kanawa always found Fiordiligi one of her most congenial assignments (and other Met Fiordiligis include such fine exponents as Steber (only available in the Sony studio recording because all her broadcasts are in translation), Vaness, Fleming (not on the airwaves, but a great studio recording, and a fine run at the Met), Lorengar (who followed TeKanawa in the new production and did the broadcast).
LA GIOCONDA:Ponchielli
Original Air Date: 01/03/1953
Cleva; Milanov, Baum, Warren, Barbieri, Siepi
MOD Audio SID.19290746
This is a big voiced Gioconda cast– the work does not call for chamber voices and this is the third of Milanov’s 7 broadcasts of the street singer. Baum is on a lower plane than the other starry principals, but for Gioconda aficionados (I’m one), this is a performance to enjoy.
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 04/19/1997
Pappano; Chernov, Gorchakova, Farina, Tarassova, Ognovenko
MOD Audio SID.19290747
We hear so much more of Onegin these days, and this run is Pappano’s (CGarden music director) only Met appearance. Good to hear Chernov again in retrospect. Turned out to not be the Russian Robert Merrill. Antonio Pappano, though an American resident for some years has ended up basing most of his operatic career as the music director at the Royal Opera House, Covent Garden. The Met thought enough to give him this new production as his debut and only run of Met appearances Chernov was originally brought in as a Russian Robert Merrill. The voice is attractive and smoothly lyric, but not a patch on his countryman, Yuri Mazurok, and at least two sizes too small to even be compared to Merrill. Even in the Met’s own archives, the Peter G. Davis review of the opening night comes in for some very hard knocks musically for both the singers and the conductor. Why this was picked for MOoD when the two Mazurok broadcasts (regularly on Sirius) were not picked gives one pause about performance selection on MOoD.