LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410639
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
ARIADNE AUF NAXOS:Strauss
Levine; Norman, King, Battle, Troyanos, Nentwig, Dickson
Original Air Date: 03/12/1988
MOD AudioMOD Video
SID.19410640
This is the audio for the performance issued on DVD, NOT available on MOoD, as are many of the R. Strauss offerings. Battle’s performance is enhanced by the visual. Norman, King, and Troyanos are among the major exponents of their parts in late 20th century.
MANON:Massenet
López-Cobos; Fleming, Giordano, Chaignaud
Original Air Date: 04/08/2006
MOD Audio
SID.19410743
This is Fleming’s last Manon from the Met and her only full length Met broadcast. Fleming was more interesting in her telecast opening night St. Sulpice scene than here. She is even better in a Paris Opera DVD from the early 2000s with Alvarez. She does not always have an easy time of it at the Met. Alvarez (from Paris, but who opened this run with Fleming) was much better than Giordano (not to be confused with Marcello Giordani who was in Fleming’s first Manons at the Met in 1997 and not broadcast).
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410744
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.19420101
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.
PETER GRIMES:Britten
Atherton; Langridge, Racette, Opie, Christin, Blythe
Original Air Date: 01/10/1998
MOD Audio
SID.19420104
I remember listening to this and thought this a good part for Racette. Langridge is fine in the title role, but for those of us who saw Jon Vickers, he simply WAS Peter Grimes and his 38 Met performances exceed the 33 done by the other 8 interpreters starting back with Frederick Jagel in 1948 and ending with Anthony Dean Griffey in 2008 (with Racette again).
GÖTTERDÄMMERUNG:Wagner
Levine; Eaglen, Andersen, Halfvarson, Held, Radvanovsky, Palmer
Original Air Date: 04/22/2000
MOD Audio
SID.19420105
This is one of the two Ring cycles broadcast by Eaglen and Levine. This one finds Eaglen on better form than the 2004 (her Met farewell), but Salminen is a stronger Hagen than Halfvarson. The 2004 has been on Sirius, but even though I previously posted that it was available on MOoD, I do not see it present in current availability. This is Felicity Palmer’s Met debut and really potent Gibich siblings in Held and Radvanovsky.
Donizetti
Benini; Alaimo, Netrebko, Flórez, Kwiecien
Original Air Date: 04/15/2006
MOD Audio
SID.19420107
This is the first year of the production, and I am sorry this was not the one that was filmed for DVD. This was the end of the Volpe era, and when Levine who was originally attached to this production did not appear because of illness (not the most recent one), any televising disappeared — TV production had practically disappeared under Volpe. Alaimo is a superior Pasquale to Del Carlo, and Florez’ Ernesto should have been captured in this Met production. As much as I enjoy this final video with Levine and gang several years later, for the best in Donizetti audio singing, this is the performance you want. I’m not especially partial to either Sills or Peters as Norina, and my favorite is Grist with Kraus, Corena, and Krause under Franci. Even though Netrebko is several voice sizes bigger than Florez, they are both star performers, and give high profile performances. This is the year of the new production, and the unifying presence of Alaimo is no small contribution. I enjoy Netrebko’s HD (also on DVD and MOoD) at the next revival under Schenk, but I’m grateful this performance is in the MOoD.
FIDELIO:Beethoven
Böhm; Nilsson, King, Evans, Edelmann, Pracht, Anthony
Original Air Date: 01/22/1966
MOD Audio
SID.19420208
Even though the classic 1960 broadcast is Bohm, Nilsson, and Vickers; Nilsson and King are fine, but Geraint Evans is not meant for this kind of role vocally. Uhde has his deficiencies but is much more appropriate. It’s a bit too late for Edelmann, but there “never was” for Czerwenka in the 1960. The 1960 performance also appears on a Sony Historical CD. What has not appeared in the Sirius run is the Beethoven 1971 bicentenary broadcast of the new production with Rysanek, Vickers with an excellent effort by Berry and Tozzi also under Bohm. Serious omission!
DER FLIEGENDE HOLLÄNDER:Wagner
Conlon; Morris, Behrens, Lakes, Salminen
Original Air Date: 01/18/1992
MOD Audio
SID.19420209
Salminen is the main interest of this performance. It comes relatively late in Behrens’ Met career Met goers were very spoiled by the Rysanek/London era in this opera (and esp. so under Bohm) Behrens would have been better pre-Ring. Hollander has to really have some magic to work for me.
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420211
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
BENVENUTO CELLINI:Berlioz
Levine; Giordani, Bayrakdarian, Del Carlo, Jepson, Lloyd
Original Air Date: 12/27/2003
MOD Audio
SID.19420212
This is the opera’s only broadcast from its only season. There is much lovely music along the way, but it does not have cumulative impact for me. Giordani copes not always pleasantly with an extremely challenging role. Twice a year for Cellini is just about the maximum desired cycling. Once a year would be enough especially since it’s in MOoD.
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420742
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
THE GREAT GATSBY:Harbison
Levine; Hadley, Upshaw, Croft, Graham, Baker, Lieberson
Original Air Date: 01/01/2000
MOD Audio
SID.19420315
Levine is a great promoter of Harbison’s work, but I miss the appeal. First appearance of Hunt Lieberson whose only other role was Didon in the new Troyens production whose broadcast marks Hunt Lieberson’s Met farewell in February 2003 before her untimely death in July 2006.
GÖTTERDÄMMERUNG:Wagner
Levine; Eaglen, Andersen, Halfvarson, Held, Radvanovsky, Palmer
Original Air Date: 04/22/2000
MOD Audio
SID.19420316
This is one of the two Ring cycles broadcast by Eaglen and Levine. This one finds Eaglen on better form than the 2004 (her Met farewell), but Salminen is a stronger Hagen than Halfvarson. The 2004 has been on Sirius, but even though I previously posted that it was available on MOoD, I do not see it present in current availability. This is Felicity Palmer’s Met debut and really potent Gibich siblings in Held and Radvanovsky.
PETER GRIMES:Britten
Atherton; Langridge, Racette, Opie, Christin, Blythe
Original Air Date: 01/10/1998
MOD Audio
SID.19420321
I remember listening to this and thought this a good part for Racette. Langridge is fine in the title role, but for those of us who saw Jon Vickers, he simply WAS Peter Grimes and his 38 Met performances exceed the 33 done by the other 8 interpreters starting back with Frederick Jagel in 1948 and ending with Anthony Dean Griffey in 2008 (with Racette again).
DON PASQUALE:Donizetti
Benini; Alaimo, Netrebko, Flórez, Kwiecien
Original Air Date: 04/15/2006
MOD Audio
SID.19420107
This is the first year of the production, and I am sorry this was not the one that was filmed for DVD. This was the end of the Volpe era, and when Levine who was originally attached to this production did not appear because of illness (not the most recent one), any televising disappeared — TV production had practically disappeared under Volpe. Alaimo is a superior Pasquale to Del Carlo, and Florez’ Ernesto should have been captured in this Met production. As much as I enjoy this final video with Levine and gang several years later, for the best in Donizetti audio singing, this is the performance you want. I’m not especially partial to either Sills or Peters as Norina, and my favorite is Grist with Kraus, Corena, and Krause under Franci. Even though Netrebko is several voice sizes bigger than Florez, they are both star performers, and give high profile performances. This is the year of the new production, and the unifying presence of Alaimo is no small contribution. I enjoy Netrebko’s HD (also on DVD and MOoD) at the next revival under Schenk, but I’m grateful this performance is in the MOoD.
DER FLIEGENDE HOLLÄNDER:Wagner
Conlon; Morris, Behrens, Lakes, Salminen
Original Air Date: 01/18/1992
MOD Audio
SID.19420424
Salminen is the main interest of this performance. It comes relatively late in Behrens’ Met career Met goers were very spoiled by the Rysanek/London era in this opera (and esp. so under Bohm) Behrens would have been better pre-Ring. Hollander has to really have some magic to work for me.
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420426
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
FIDELIO:Beethoven
Böhm; Nilsson, King, Evans, Edelmann, Pracht, Anthony
Original Air Date: 01/22/1966
MOD Audio
SID.19420427
Even though the classic 1960 broadcast is Bohm, Nilsson, and Vickers; Nilsson and King are fine, but Geraint Evans is not meant for this kind of role vocally. Uhde has his deficiencies but is much more appropriate. It’s a bit too late for Edelmann, but there “never was” for Czerwenka in the 1960. The 1960 performance also appears on a Sony Historical CD. What has not appeared in the Sirius run is the Beethoven 1971 bicentenary broadcast of the new production with Rysanek, Vickers with an excellent effort by Berry and Tozzi also under Bohm. Serious omission!
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420529
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
BENVENUTO CELLINI:Berlioz
Levine; Giordani, Bayrakdarian, Del Carlo, Jepson, Lloyd
Original Air Date: 12/27/2003
MOD Audio
SID.19420530
This is the opera’s only broadcast from its only season. There is much lovely music along the way, but it does not have cumulative impact for me. Giordani copes not always pleasantly with an extremely challenging role. Twice a year for Cellini is just about the maximum desired cycling. Once a year would be enough especially since it’s in MOoD.
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420531
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
THE GREAT GATSBY:Harbison
Levine; Hadley, Upshaw, Croft, Graham, Baker, Lieberson
Original Air Date: 01/01/2000
MOD Audio
SID.19420534
Levine is a great promoter of Harbison’s work, but I miss the appeal. First appearance of Hunt Lieberson whose only other role was Didon in the new Troyens production whose broadcast marks Hunt Lieberson’s Met farewell in February 2003 before her untimely death in July 2006.
THE GREAT GATSBY:Harbison
Levine; Hadley, Upshaw, Croft, Graham, Baker, Lieberson
Original Air Date: 01/01/2000
MOD Audio
SID.19420636
Levine is a great promoter of Harbison’s work, but I miss the appeal. First appearance of Hunt Lieberson whose only other role was Didon in the new Troyens production whose broadcast marks Hunt Lieberson’s Met farewell in February 2003 before her untimely death in July 2006.
FIDELIO:Beethoven
Böhm; Nilsson, King, Evans, Edelmann, Pracht, Anthony
Original Air Date: 01/22/1966
MOD Audio
SID.19420638
Even though the classic 1960 broadcast is Bohm, Nilsson, and Vickers; Nilsson and King are fine, but Geraint Evans is not meant for this kind of role vocally. Uhde has his deficiencies but is much more appropriate. It’s a bit too late for Edelmann, but there “never was” for Czerwenka in the 1960. The 1960 performance also appears on a Sony Historical CD. What has not appeared in the Sirius run is the Beethoven 1971 bicentenary broadcast of the new production with Rysanek, Vickers with an excellent effort by Berry and Tozzi also under Bohm. Serious omission!
DER FLIEGENDE HOLLÄNDER:Wagner
Conlon; Morris, Behrens, Lakes, Salminen
Original Air Date: 01/18/1992
MOD Audio
SID.19420639
Salminen is the main interest of this performance. It comes relatively late in Behrens’ Met career Met goers were very spoiled by the Rysanek/London era in this opera (and esp. so under Bohm) Behrens would have been better pre-Ring. Hollander has to really have some magic to work for me.
PETER GRIMES:Britten
Atherton; Langridge, Racette, Opie, Christin, Blythe
Original Air Date: 01/10/1998
MOD Audio
SID.19420640
I remember listening to this and thought this a good part for Racette. Langridge is fine in the title role, but for those of us who saw Jon Vickers, he simply WAS Peter Grimes and his 38 Met performances exceed the 33 done by the other 8 interpreters starting back with Frederick Jagel in 1948 and ending with Anthony Dean Griffey in 2008 (with Racette again).
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420742
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
BENVENUTO CELLINI:Berlioz
Levine; Giordani, Bayrakdarian, Del Carlo, Jepson, Lloyd
Original Air Date: 12/27/2003
MOD Audio
SID.19420743
This is the opera’s only broadcast from its only season. There is much lovely music along the way, but it does not have cumulative impact for me. Giordani copes not always pleasantly with an extremely challenging role. Twice a year for Cellini is just about the maximum desired cycling. Once a year would be enough especially since it’s in MOoD.