DON PASQUALE:Donizetti
Varviso; Corena, Peters, Alva, Guarrera
Original Air Date: 01/09/1965
MOD Audio
SID.20130754
RWW: For me the stars of this broadcast are the matchless Corena and Peruvian tenor Luigi Alva. Alva is still with us and remains much beloved in his home country as well. In terms of style and stage presence, Alva yielded nothing to his more famous successors as Ernesto Alfredo Kraus and fellow Peruvian Juan Diego Florez. Corena shows up again five years later with Reri Grist and Kraus under Carlo Franci. Luckily both performances are in MOoD.
FALSTAFF:Verdi
Amaducci; Flagello, Curtin, Guarrera, Barbieri, Raskin, Alva
Original Air Date: 12/16/1967
MOD Audio
SID.20130757
RWW: Barbieri, Guarrera, and Alva are veterans of many Falstaffs, and Flagello features a lot of voice for a bass Falstaff. Amaducci, by memory, didn’t have much sparkle. High praise for Alva and Barbieri; she is a characterful Quickly, and he a perfect Fenton, but Amaducci is possibly the weakest Falstaff conductor in Met history(certainly on broadcasts). The 1964 Bernstein has never been on Sirius, and though the Met Database records the 1972 as having been on Sirius with Gobbi, Tebaldi, and Paskalis under von Dohnanyi, it has not been on more than once, and should be heard again. Both of these performances belong in MOoD not this performance. Flagello who had one of the great voices in a time when the Met’s bass cabinet was chock full sings the part very well, but for this work, you must have a conductor to work with you, and that he doesn’t have. Alas, Falstaff is about ensemble, not individual efforts.
OTELLO:Verdi
Cleva; Del Monaco, de los Angeles, Warren, Franke
Original Air Date: 03/08/1958
MOD Audio
SID.20140208
This is a splendid performance, and should also note the number of fine Otellos which have not been on Sirius, including but not limited to the the 3 1940s Otellos with Stella Roman, Tebaldi’s two Desdemonas from 1955 and 1958 (the 1955 is uncommon on the private market, and the 1958 never seen, even the 1958 from La Scala with the same trio– Tebaldi, Del Monaco, Warren is not that common and the 1963 Tucci, McCracken , Merrill with Solti have all been missed by Sirius. Really too many omissions for relatively recent performances. Also the Bohm (his only Verdi at the Met) from April 1972
DER FLIEGENDE HOLLÄNDER:Wagner
Gergiev; Morris, Stemme, Wagenführer, Rootering, Grove, Polenzani
Original Air Date: 12/16/2000
MOD Audio
SID.20140209
The Met for almost two decades led a charmed life with most Dutchman revivals centered on Leonie Rysanek as Senta, and for the first decade George London as the Dutchman. This performance was an early appearance by Nina Stemme at the Met, long before her acclaimed Brunnhildes around the world in the last 5 years. People were not thinking of her as a future Brunnhilde in 2000, and an important appearance in 2016 as Elektra in a new production.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.20000210
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
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SIMON BOCCANEGRA:Verdi
Stiedry; Warren, Varnay, Tucker, Székely, Valdengo
Original Air Date: 01/28/1950
MOD Audio
SID.20140211
Reissued on Sony Classical in the Met’s Verdi box for his bicentennial. This is Warren’s only broadcast of the title role. He had done Paolo (the Valdengo role) a decade earlier shortly after winning the Met Auditions of the Air. His Simon was Lawrence Tibbett. This is Tucker’s first venture into the more dramatic tenor roles, and he sang it outstandingly for the next quarter century until his final Gabriel on the 1974 Met broadcast with plenty of gas still in the tank. This 1974 performance with Wixell and Maliponte is long overdue for a Sirius rebroadcast.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140212
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.
SAMSON ET DALILA:Saint-Saëns
Fournet; Vickers, Horne, Quilico
Original Air Date: 04/18/1987
MOD Audio
SID.20140213
This is Vickers’ farewell to the Met (not announced in advance). For many of us, he is a legendary singer who spans the beginning of our operatic journey, and 26 years later still shines very brightly indeed. In almost every assumption he not only gave his individual commitment (he was Giasone to Callas in my first opera in 1958 in Dallas) but simply encompassed roles as few ever do and was always in the top rank and usually best ever seen in the roles. Samson is certainly one of those roles, and if the opera has been a bit overdone on Sirius, I am never finished with my enjoyment of Vickers. Horne is a singer I admire on many fronts– her support of young artists, the advocacy for vocal recitals, and certainly outstanding Rossinian efforts. But I’m not much of Rossini guy, and I find many of her ventures beyond not to my taste, Verdi (even as Quickly) really doesn’t work and Dalila doesn’t compare with my first (Rita Gorr in the premiere of the O’Hearn Merrill production in 1964) or some of my best more recent ones– Borodina’s voice was made for those languorous lines. This is Vickers’ only broadcast of Samson et Dalila, and sometime min the last 3 years has been added to MOoD as a testament to his work and whom we lost July 13, 2015 after a long illness.
THE QUEEN OF SPADES:Tchaikovsky
Gergiev; Domingo, Gorchakova, Söderström, Hvorostovsky, Borodina, Putilin
Original Air Date: 04/10/1999
MOD AudioMOD Video
SID.20140215
This performance is too late for Soderstrom, too late for Domingo, and too late for Gorchakova. You can see the video of from five days later on MOoD as well. Better to hear the first season of the production with Gregorian who succeeded Heppner, Guleghina who succeeded Mattila with Rysanek. That has been on Sirius, but is not on MOoD. If Sirius had been at work when the production premiered we would have a broadcast of Heppner and Mattila at their very best. MOD is from 4-15-99 performance.
OTELLO:Verdi
Cleva; Del Monaco, de los Angeles, Warren, Franke
Original Air Date: 03/08/1958
MOD Audio
SID.20140318
This is a splendid performance, and should also note the number of fine Otellos which have not been on Sirius, including but not limited to the the 3 1940s Otellos with Stella Roman, Tebaldi’s two Desdemonas from 1955 and 1958 (the 1955 is uncommon on the private market, and the 1958 never seen, even the 1958 from La Scala with the same trio– Tebaldi, Del Monaco, Warren is not that common and the 1963 Tucci, McCracken , Merrill with Solti have all been missed by Sirius. Really too many omissions for relatively recent performances. Also the Bohm (his only Verdi at the Met) from April 1972
THE QUEEN OF SPADES:Tchaikovsky
Gergiev; Domingo, Gorchakova, Söderström, Hvorostovsky, Borodina, Putilin
Original Air Date: 04/10/1999
MOD AudioMOD Video
SID.20140425
This performance is too late for Soderstrom, too late for Domingo, and too late for Gorchakova. You can see the video of from five days later on MOoD as well. Better to hear the first season of the production with Gregorian who succeeded Heppner, Guleghina who succeeded Mattila with Rysanek. That has been on Sirius, but is not on MOoD. If Sirius had been at work when the production premiered we would have a broadcast of Heppner and Mattila at their very best. MOD is from 4-15-99 performance.
DER FLIEGENDE HOLLÄNDER:Wagner
Gergiev; Morris, Stemme, Wagenführer, Rootering, Grove, Polenzani
Original Air Date: 12/16/2000
MOD Audio
SID.20140426
The Met for almost two decades led a charmed life with most Dutchman revivals centered on Leonie Rysanek as Senta, and for the first decade George London as the Dutchman. This performance was an early appearance by Nina Stemme at the Met, long before her acclaimed Brunnhildes around the world in the last 5 years. People were not thinking of her as a future Brunnhilde in 2000, and an important appearance in 2016 as Elektra in a new production.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.20140427
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.20140428
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
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SIMON BOCCANEGRA:Verdi
Stiedry; Warren, Varnay, Tucker, Székely, Valdengo
Original Air Date: 01/28/1950
MOD Audio
SID.20140429
Reissued on Sony Classical in the Met’s Verdi box for his bicentennial. This is Warren’s only broadcast of the title role. He had done Paolo (the Valdengo role) a decade earlier shortly after winning the Met Auditions of the Air. His Simon was Lawrence Tibbett. This is Tucker’s first venture into the more dramatic tenor roles, and he sang it outstandingly for the next quarter century until his final Gabriel on the 1974 Met broadcast with plenty of gas still in the tank. This 1974 performance with Wixell and Maliponte is long overdue for a Sirius rebroadcast.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140431
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.
SAMSON ET DALILA:Saint-Saëns
Fournet; Vickers, Horne, Quilico
Original Air Date: 04/18/1987
MOD Audio
SID.20140532
This is Vickers’ farewell to the Met (not announced in advance). For many of us, he is a legendary singer who spans the beginning of our operatic journey, and 26 years later still shines very brightly indeed. In almost every assumption he not only gave his individual commitment (he was Giasone to Callas in my first opera in 1958 in Dallas) but simply encompassed roles as few ever do and was always in the top rank and usually best ever seen in the roles. Samson is certainly one of those roles, and if the opera has been a bit overdone on Sirius, I am never finished with my enjoyment of Vickers. Horne is a singer I admire on many fronts– her support of young artists, the advocacy for vocal recitals, and certainly outstanding Rossinian efforts. But I’m not much of Rossini guy, and I find many of her ventures beyond not to my taste, Verdi (even as Quickly) really doesn’t work and Dalila doesn’t compare with my first (Rita Gorr in the premiere of the O’Hearn Merrill production in 1964) or some of my best more recent ones– Borodina’s voice was made for those languorous lines. This is Vickers’ only broadcast of Samson et Dalila, and sometime min the last 3 years has been added to MOoD as a testament to his work and whom we lost July 13, 2015 after a long illness.
OTELLO:Verdi
Cleva; Del Monaco, de los Angeles, Warren, Franke
Original Air Date: 03/08/1958
MOD Audio
SID.20140536
This is a splendid performance, and should also note the number of fine Otellos which have not been on Sirius, including but not limited to the the 3 1940s Otellos with Stella Roman, Tebaldi’s two Desdemonas from 1955 and 1958 (the 1955 is uncommon on the private market, and the 1958 never seen, even the 1958 from La Scala with the same trio– Tebaldi, Del Monaco, Warren is not that common and the 1963 Tucci, McCracken , Merrill with Solti have all been missed by Sirius. Really too many omissions for relatively recent performances. Also the Bohm (his only Verdi at the Met) from April 1972
DER FLIEGENDE HOLLÄNDER:Wagner
Gergiev; Morris, Stemme, Wagenführer, Rootering, Grove, Polenzani
Original Air Date: 12/16/2000
MOD Audio
SID.20140539
The Met for almost two decades led a charmed life with most Dutchman revivals centered on Leonie Rysanek as Senta, and for the first decade George London as the Dutchman. This performance was an early appearance by Nina Stemme at the Met, long before her acclaimed Brunnhildes around the world in the last 5 years. People were not thinking of her as a future Brunnhilde in 2000, and an important appearance in 2016 as Elektra in a new production.
?1435764702
SIMON BOCCANEGRA:Verdi
Stiedry; Warren, Varnay, Tucker, Székely, Valdengo
Original Air Date: 01/28/1950
MOD Audio
SID.20140641
Reissued on Sony Classical in the Met’s Verdi box for his bicentennial. This is Warren’s only broadcast of the title role. He had done Paolo (the Valdengo role) a decade earlier shortly after winning the Met Auditions of the Air. His Simon was Lawrence Tibbett. This is Tucker’s first venture into the more dramatic tenor roles, and he sang it outstandingly for the next quarter century until his final Gabriel on the 1974 Met broadcast with plenty of gas still in the tank. This 1974 performance with Wixell and Maliponte is long overdue for a Sirius rebroadcast.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.20140645
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.20140647
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140749
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.
SAMSON ET DALILA:Saint-Saëns
Fournet; Vickers, Horne, Quilico
Original Air Date: 04/18/1987
MOD Audio
SID.20140750
This is Vickers’ farewell to the Met (not announced in advance). For many of us, he is a legendary singer who spans the beginning of our operatic journey, and 26 years later still shines very brightly indeed. In almost every assumption he not only gave his individual commitment (he was Giasone to Callas in my first opera in 1958 in Dallas) but simply encompassed roles as few ever do and was always in the top rank and usually best ever seen in the roles. Samson is certainly one of those roles, and if the opera has been a bit overdone on Sirius, I am never finished with my enjoyment of Vickers. Horne is a singer I admire on many fronts– her support of young artists, the advocacy for vocal recitals, and certainly outstanding Rossinian efforts. But I’m not much of Rossini guy, and I find many of her ventures beyond not to my taste, Verdi (even as Quickly) really doesn’t work and Dalila doesn’t compare with my first (Rita Gorr in the premiere of the O’Hearn Merrill production in 1964) or some of my best more recent ones– Borodina’s voice was made for those languorous lines. This is Vickers’ only broadcast of Samson et Dalila, and sometime min the last 3 years has been added to MOoD as a testament to his work and whom we lost July 13, 2015 after a long illness.
THE QUEEN OF SPADES:Tchaikovsky
Gergiev; Domingo, Gorchakova, Söderström, Hvorostovsky, Borodina, Putilin
Original Air Date: 04/10/1999
MOD AudioMOD Video
SID.20140751
This performance is too late for Soderstrom, too late for Domingo, and too late for Gorchakova. You can see the video of from five days later on MOoD as well. Better to hear the first season of the production with Gregorian who succeeded Heppner, Guleghina who succeeded Mattila with Rysanek. That has been on Sirius, but is not on MOoD. If Sirius had been at work when the production premiered we would have a broadcast of Heppner and Mattila at their very best. MOD is from 4-15-99 performance.
SUSANNAH:Floyd
Conlon; Fleming, Hadley, Ramey
Original Air Date: 04/03/1999
MOD Audio
SID.20150210
This is the Met’s only broadcast of Susannah, and finds all three principals on especially fine form. 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. 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.
, 
I PURITANI:Bellini
Bonynge; Gruberova, Merritt, Gavanelli, Plishka
Original Air Date: 03/30/1991
MOD Audio
SID.20150212
This is primarily for Gruberova fans. She doesn’t sing in USA much so just as well since she only has two Met broadcasts, this Puritani and Zerbinetta in Ariadne auf Naxos. Of greater interest would be her Queen of the Night (Met debut) and the new production of Traviata with Kleiber and Shicoff (neither broadcast; in today’s world of live Sirius, we would likely be hearing both)
ELEKTRA:Strauss
Böhm; Nilsson, Rysanek, Madeira, Stewart, Nagy
Original Air Date: 02/27/1971
MOD Audio
SID.20150213
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.
RIGOLETTO:Verdi
Cleva; Merrill, Peters, Tucker, Giaiotti, Dunn
Original Air Date: 02/22/1964
MOD Audio
SID.20150214
Amazingly Merrill (debut 1946) and Tucker (debut 1945) are also around eight years later in 1972 for them sharing their final Rigoletto broadcast. Peters who sang Gilda at the Met as late as 1985 did not broadcast it after 1967. Dunn,Giaiotti, and Macurdy are outstandingly strong support. 1/16/12 – This has recently been released in the Sony Historic Broadcasts. All of the singers are fine, and the technical command of these full voiced singers could teach some more lyric singers the art of bel canto. Giaiotti was a stalwart of the Met bass contingent in the 60s, 70s, 80s. Giaiotti also has one broadcast Monterone which also includes Dunn, and MacNeil in his first Rigoletto broadcast. This has not been on Sirius and I would love to hear it. The performance is also on MetPlayer.
SUSANNAH:Floyd
Conlon; Fleming, Hadley, Ramey
Original Air Date: 04/03/1999
MOD Audio
SID.20150428
This is the Met’s only broadcast of Susannah, and finds all three principals on especially fine form. 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. 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.