LA SONNAMBULA:Bellini
Original Air Date: 03/30/1963
Varviso; Sutherland, Gedda, Flagello, Scovotti
SID.18500532
This is stellar singing from one and all, and is available along with her second Met Sonnambula broadcast from 1968 in MOoD. I was lucky to see Sutherland from her very first USA appearance in Alcina (Dallas,1960) and lucky was I to enjoy such stellar performing for more than a quarter century. Other singers may have a more introspective approach to Sonnambula, but La Stupenda offers something different, and nowhere to be found in opera houses today.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.18500533
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
Original Air Date: 01/01/9999
Various Artists
SID.18500534
KÁT’A KABANOVÁ :Janácek
Original Air Date: 12/25/2004
Belohlávek; Mattila, Forst, Silvasti, Ognovenko, Very, Kozená
SID.18500636
“An excellent cast, but I just don’t warm as much to this work as to Jenufa. For these infrequent works, it is important they make their way to MOoD.”
PETER GRIMES:Britten
Original Air Date: 03/24/1973
Ehrling; Vickers, Amara, Gramm, Kraft, Chookasian
SID.18500637
This is the third of Vickers’ 4 Met Grimes broadcasts. Luckily all have been on Sirius. I find the Colin Davis outings (the first two) sharper in profile, but Vickers’ portrayal is one of the great assumptions. Britten purists are not always so taken, but JV really pushed this opera into the general repertoire in the U.S.
NORMA:Bellini
Original Air Date: 12/19/1970
Bonynge; Sutherland, Horne, Tagliavini, Plishka
SID.18500638
This is Sutherland/Horne in their second season of Norma (but same calendar year) with the men instead of Bergonzi and Siepi. I prefer the excitement of the first season, but the ladies remain the gold standard in both.
MANON:Massenet
Original Air Date: 03/03/2001
Rudel; Swenson, Sabbatini, de Candia
MOD Audio SID.18500640
I’m not sure if anyone has conducted Manon more than Julius Rudel, the opera having been a mainstay during his NYCO stewardship. This is an OK performance, but wish we could hear the 1959 DeLosAngeles Gedda Manon under Jean Morel as well., I’m not sure if anyone has conducted Manon more than Julius Rudel, the opera having been a mainstay during his NYCO stewardship. This is an OK performance, but wish we could hear the 1959 De Los Angeles/Gedda Manon under Jean Morel as well. This opera is available on MOoD to listen to anytime. 1/29/11 – This is uncommon casting, but maybe one way to start preparing for the new production of Manon. I would be happier if someone would dig deeper into the archives for the single De Los Angeles/Gedda broadcast under Jean Morel from 1959.
IL BARBIERE DI SIVIGLIA:Rossini
Original Air Date: 02/29/1992
Weikert; Hampson, von Stade, Olsen, Quilico, Ramey
MOD Audio SID.18500641
Louis Quilico is not my ideal Bartolo. Von Stade’s first Rosina broadcast from 1976 with Stilwell, Corena, and Morris has been on Sirius, but not 1983 which features Pablo Elvira, Sesto Bruscantini (as Bartolo) and Paolo Montarsolo as Basilio. This 1992 performance is her last Met performance as Rosina. I love the opera, but they overwork it almost as much as Boheme.
Review of Desmond Shawe-Taylor in the New Yorker: Except for the Almaviva (Luigi Alva) and the Dr. Bartolo (Fernando Corena), all the principals of the Metropolitan Opera’s Christmas Day revival of Rossini’s “Il Barbiere di Siviglia” were new to their roles in the house; and, considering the minimal rehearsal time that is available when standard works are added to a large repertory, the performance went pretty well. The orchestra was in good form but for a little trouble in the horn department; and John Pritchard’s direction had a lilt and grace that were just right for the delightful score.
The most important of the newcomers onstage was Frederica von Stade as Rosina. Already well known for her Cherubino and numerous smaller roles, this musical and intelligent mezzo charmed the audience with her modest, engaging demeanor and clear, agile singing. She looks markedly un-Spanish, and might be one of the more lively heroines of Victorian fiction; but soon after she had started on “Una voce” a sudden, and loving piano inflection on the first “Lindoro” (her suitor’s assumed name) showed her to be thoroughly inside the part. I also greatly enjoyed the Figaro of Dominic Cossa, a tall and supple fellow who might well prove (to cite Beaumarchais, quoted in the program) “the terror of husbands, the darling of wives,” and who had no need to resort to falsetto when he had to imitate the tenor’s sentimental high A in the last-act trio. Mr. Alva is not quite Beaumarchais’s “young Spanish lord … vital and passionate,” and a sweeter, fuller tone is certainly wanted for the love songs; but he is a master of absurd disguise and comic routine, and therefore able to carry off the later scenes with telling glee. Mr. Corena, who felt vocally out of sorts and omitted his aria, made nonetheless a very funny and resourceful Dr. Bartolo, in contrast to Ezio Flagello who sounded fuzzy as Don Basilio, and whose notions of comedy did not get far beyond red football stockings and bare knees under a greasy soutane. Cynthia Munzer made a good deal of the aria di sorbetto that is Berta’s solo opportunity, with a wild and somewhat distraught look that suggested an incipient Azucena.
Photograph of Frederica von Stade as Rosina in Il Barbiere di Siviglia by James Heffernan/Metropolitan Opera.
NABUCCO Verdi
Original Air Date: 02/26/2005
Levine; Putilin, Guleghina, Buchuladze, Hughes Jones
SID.18500 103
NYTIMES ” Most of all, the production turns its singers loose. Verdi has written them big-bore, high-explosive parts, and conducted from the pit by James Levine, Monday’s cast went out and took its chances.
Maria Guleghina’s Abigaille is the big moment among many big moments, and she threw her powerful soprano ardently, sometimes recklessly into the opera. Her first extended sequence (Part II, Scene 1) was impressively done. If there were bumps in Part I’s opening, they may be due to Verdi’s habit of writing first acts with dangerously sudden soprano parts. Like Violetta in “La Traviata,” Abigaille has no settling-in period; the part pounces on her from nowhere.
There was not much vocal subtlety asked for on Monday, and not much given. Nikolai Putilin in the title role was all straightforwardness and muscle. Paata Burchuladze’s Zaccaria managed more vocal shine in an equally punishing part. Gwyn Hughes Jones as Ismaele offered a step up in refinement, but he, too, seemed to be enjoying the communal loudness. Wendy White’s Fenena, singing on the scaffold near the final curtain, offered the evening’s moment of tender, cultured musicianship.
“Nabucco” is also a chorus opera, and the Met singers were strong and touching. “Va, pensiero” made its usual impact. Others in the cast were Julien Robbins, Claudia Waite and Eduardo Valdes.
DER FREISCHUTZ:Weber
Original Air Date: 04/15/1972
Ludwig; Kónya, Lorengar, Feldhoff, Mathis
MOD Audio SID.18500743
This is the only Met broadcast of Freischutz, and despite some good work from the treble/tenor clef, Ludwig’s conducting does not give it the sparkle it needs. Feldhoff is more adequate than commanding. One cannot blame the Met entirely, this work simply is not as much a part of the “standard” opera house repertoire as it was 50 years ago.
LA SONNAMBULA:Bellini
Original Air Date: 03/30/1963
Varviso; Sutherland, Gedda, Flagello, Scovotti
SID.18500744
This is stellar singing from one and all, and is available along with her second Met Sonnambula broadcast from 1968 in MOoD. I was lucky to see Sutherland from her very first USA appearance in Alcina (Dallas,1960) and lucky was I to enjoy such stellar performing for more than a quarter century. Other singers may have a more introspective approach to Sonnambula, but La Stupenda offers something different, and nowhere to be found in opera houses today.
LOHENGRIN:Wagner
Original Air Date: 02/16/1985
Levine; Domingo, Tomowa-Sintow, Marton, McIntyre, Macurdy
SID.18500745
This performance is also available in MOoD. Domingo sings very well, but for me the special excitement of this performance comes from the two ladies. Marton had not yet started her heavy round of Elektra performances, and her singing is commanding without ever being less than very feminine. Lohengrin is one of Levine’s best efforts, and here’s the cast for it. The ladies are simply splendid, among the best exponents of their roles in the last 3 decades. Lohengrin is one of Levine’s best Wagner efforts.
LOHENGRIN:Wagner
Original Air Date: 02/16/1985
Levine; Domingo, Tomowa-Sintow, Marton, McIntyre, Macurdy
SID.18500746
This performance is also available in MOoD. Domingo sings very well, but for me the special excitement of this performance comes from the two ladies. Marton had not yet started her heavy round of Elektra performances, and her singing is commanding without ever being less than very feminine. Lohengrin is one of Levine’s best efforts, and here’s the cast for it. The ladies are simply splendid, among the best exponents of their roles in the last 3 decades. Lohengrin is one of Levine’s best Wagner efforts.
SIMON BOCCANEGRA Verdi
Original Air Date: 12/29/1984
Levine; Milnes, Tomowa-Sintow, Moldoveanu, Plishka, Clark
SID.18500747
The main attraction here is Tomowa-Sintow who has only 7 Met broadcasts. This performance is also available on DVD. This performance lacks a certain spark, but the singing is very solid.
COSI FAN TUTTE Mozart
Original Air Date: 12/20/1975
Kord; Carson, Di Giuseppe, Tourangeau, Carlson, Boky, Corena
SID.18500748
This is most notable for Corena’s only Don Alfonso broadcast. The opera was out of the Met repertory from 1928 until 1951, when Steber, Thebom, and Tucker premiered the hugely successful Alfred Lunt production in English (a Columbia studio recording of this production was made, and holds upeven against Italian language originals). The opera remained in English until 1971, when John Pritchard premiered a fall cast which included Corena, but no broadcast.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.18510000
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.
Wagner
Original Air Date: 04/20/1974
Steinberg; Thomas, Martin, Stewart, Macurdy, Meredith. Morris
SID.18510107
This is William Steinberg’s farewell performance (only 25 altogether in 4 operas) and I was in attendance for this. It’s a very solid overall performance, and better conducted than Leopold Ludwig’s wan effort when the production was new. Next time out in 1979, James Levine begins a LONG run as the Parsifal conductor. I don’t understand why this performance is not on MOoD. The cast is all-American, and except for Antony and Cleopatra, Jess Thomas is not represented on MOoD.
Not yet heard on Sirius are Hotter’s 2 Parsifal broadcasts (1952 as Amfortas and 1954 as Gurnemanz– his Met farewell). Hotter is well represented from Bayreuth, but worth hearing on Sirius. To me the big gaps are the 1966 Pretre Parsifal with Crespin and Konya under Pretre and the 1971 with Siepi’s classic Gurnemanz. Levine conducted a lot of Parsifal broadcasts in the 1980s, and the surprise omission is the 1985 with Vickers, Rysanek, Moll
38 years later James Morris is the only survivor still on the Met stage. I love Parsifal, and glad that Sirius schedules Parsifal with some regularity. I wish they would honor the great Vickers and Rysanek with THEIR broadcast of Parsifal.
Strauss
Original Air Date: 01/05/2002
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
SID.18510212
The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Schnaut has a lot of presence as the Dyer’s wife, but the sound is often hard to take. Brendel as Barak is good, but if one saw the original Met production Walter Berry totally equalled the spectacular work of Rysanek, Ludwig, King, and Dalis. Still “Frosch” has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
***
Thielemann is the chief attraction here and the score is presented complete at the Met for the first time. Voigt is at close to her very best. Some of R. Strauss’ very best music. The recent Jurowski run was also complete, and with all new casting, which for me was definitely better for Dyer’s Wife and Emperor. For the Amme, I think one needs to go back to Dalis and Dunn.
***
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a
little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well.
Original Air Date: 01/20/1996
Robertson; Norman, Clark, Hagegård, McIntyre
SID.18510316
This was the cursed production which premiered the opera at the Met a few weeks earlier, and was stopped in minutes due to the death of Richard Versalle. [The second performance was cancelled due to a snow blizzard]
The English version is by Moshinsky (the director), Robertson When the opera is revived two years later, it is in Czech with Malfitano and Mackerras conducting. Norman is sui generis, and so is her performance of this part.
This is the premiere season for Makropulos with Norman filling out the Janacek lines (in an English translation partially attributed to her). She sings gloriously, even if it misses some of the angularity inherent in the score. This is one broadcast in a translation that regularly makes it to the airwaves if not MOoD.
Here’s one Met broadcast in translation. This is from the ill-fated premiere season where Richard Versalle died at the premiere, and the second performance was cancelled by a snowstorm. Malfitano did two revivals under Mackerras in Czech, but I think we will not finally get a great Makropulos until Mattila appears late that spring. Made to order for her. For the record, Norman brings enormous lyricism to the part, just maybe not quite what the part needs, but very interesting to encounter.
Verdi
Original Air Date: 12/14/1940
Panizza; Björling, Milanov, Sved, Andreva, Castagna
SID.18510317
Neither Milanov nor Bjorling recorded these roles complete, let alone together (Bjorling scheduled for two–Toscanini and Solti). Panizza, Milanov, and Bjorling all outstanding. It was widely available in various private pressings.
This is still 1940s sound and this week is only the second appearance on Sirius. My guess is that this will appear in the MOoD offerings shortly [ well we’re two years later it still is not in MOoD], as almost all the big box reissues on CD make their way into MOoD.
10/7/13 – Neither Milanov nor Bjorling recorded these roles complete, let alone together (Bjorling scheduled for two– Toscanini and Solti). Panizza, Milanov, and Bjorling all outstanding. WIll be curious as to the
restoration. It was widely available in various private pressings. Hope the new restoration creates further improvement
5/1/2008 – What does one need to say? So it’s 1940 AM sound. The Met has offered this before as a Guild benefit, so they have a good copy, and neither MIlanov nor Bjorling recorded it commercially. An additional benefit is the sterling conducting of Panizza.
Wagner
Original Air Date: 04/20/1974
Steinberg; Thomas, Martin, Stewart, Macurdy, Meredith. Morris
SID.18510318
This is William Steinberg’s farewell performance (only 25 altogether in 4 operas) and I was in attendance for this. It’s a very solid overall performance, and better conducted than Leopold Ludwig’s wan effort when the production was new. Next time out in 1979, James Levine begins a LONG run as the Parsifal conductor. I don’t understand why this performance is not on MOoD. The cast is all-American, and except for Antony and Cleopatra, Jess Thomas is not represented on MOoD.
Not yet heard on Sirius are Hotter’s 2 Parsifal broadcasts (1952 as Amfortas and 1954 as Gurnemanz– his Met farewell). Hotter is well represented from Bayreuth, but worth hearing on Sirius. To me the big gaps are the 1966 Pretre Parsifal with Crespin and Konya under Pretre and the 1971 with Siepi’s classic Gurnemanz. Levine conducted a lot of Parsifal broadcasts in the 1980s, and the surprise omission is the 1985 with Vickers, Rysanek, Moll
38 years later James Morris is the only survivor still on the Met stage. I love Parsifal, and glad that Sirius schedules Parsifal with some regularity. I wish they would honor the great Vickers and Rysanek with THEIR broadcast of Parsifal.
Wagner
Original Air Date: 04/20/1974
Steinberg; Thomas, Martin, Stewart, Macurdy, Meredith. Morris
SID.18510319
This is William Steinberg’s farewell performance (only 25 altogether in 4 operas) and I was in attendance for this. It’s a very solid overall performance, and better conducted than Leopold Ludwig’s wan effort when the production was new. Next time out in 1979, James Levine begins a LONG run as the Parsifal conductor. I don’t understand why this performance is not on MOoD. The cast is all-American, and except for Antony and Cleopatra, Jess Thomas is not represented on MOoD.
Not yet heard on Sirius are Hotter’s 2 Parsifal broadcasts (1952 as Amfortas and 1954 as Gurnemanz– his Met farewell). Hotter is well represented from Bayreuth, but worth hearing on Sirius. To me the big gaps are the 1966 Pretre Parsifal with Crespin and Konya under Pretre and the 1971 with Siepi’s classic Gurnemanz. Levine conducted a lot of Parsifal broadcasts in the 1980s, and the surprise omission is the 1985 with Vickers, Rysanek, Moll
38 years later James Morris is the only survivor still on the Met stage. I love Parsifal, and glad that Sirius schedules Parsifal with some regularity. I wish they would honor the great Vickers and Rysanek with THEIR broadcast of Parsifal.
Verdi
Original Air Date: 04/05/1975
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
MOD Audio SID.18510422
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.
Offenbach
Original Air Date: 02/07/1959
Morel; Gedda, London, Dobbs, Elias, Amara, Vanni
MOD Audio SID.18510423
This performance is always welcome on Sirius, for it is one of Gedda’s very best broadcasts. Morel’s style is also welcome. I’m not a huge fan of London’s villains (I prefer Singher’s) but this is a solid performance from top to bottom.
Verdi
Original Air Date: 03/20/1954
Stiedry; Milanov, Penno, Warren, Hines, Madeira, Pechner
SID.18510424
Milanov’s four broadcast Leonoras begin in 1952 with much of the above cast except Tucker for Penno. That performance is on MOoD and there are many fine moments. Penno is the point of interest in this week’s Forza, and clearly he must have had one of the largest tenor voices in an era of big voiced singers. His Met career was not long, but he is long remembered as well for several appearances with Callas– Macbeth and Medea. He is also the Pollione at the Met in Milanov’s final series of Normas. Milanov’s Norma has not appeared in the Sirius series, and while the 2 1940s performances will catch her in smoother voice, I would love to hear the 1954 performance as well.
If memory serves, this is the best of MIlanov’s 50s Forza Leonoras. Penno is a comet that didn’t turn out so well, but other than not being Tucker or Del Monaco, he’s fine.
Strauss
Original Air Date: 03/20/1993
Marin; Norman, Moser, Swenson, Mentzer, Stewart, Oswald
MOD Audio SID.18510425
For my money Jessye Norman is much better in her two earlier broadcasts (the first with Andrew Davis conducting, the second with Levine and subsequently telecast). Moser is not my preferred Bacchus, but Swenson featuring more of a lyric Zerbinetta (a la Guden) is very fine. 11/21/16
***
This is Norman’s last Ariadne broadcast and in the new production for her. I prefer the 1988 video (which is on DVD from DG) with Troyanos and Battle under Levine. Swenson has her moments as well. 4/23/12
***
I’m not sure about the interest in this performance. Norman five years earlier under Levine has a sterling broadcast and telecast with King, Troyanos, and Battle. What has NOT been broadcast on Sirius is either Bohm Ariadne : the Met premiere season in 1963 with Rysanek (supposed to have been Della Casa, but with the opera switch from Dutchman, it went to LR). Seven years later features Bohm and Rysanek with King and a delectable performance from Reri Grist. 11 July 2011
Boito
Original Air Date: 02/19/2000
Elder; Ramey, Villarroel, Margison
MOD Audio SID.18510426
So far this is the only Met broadcast of Mefistofele, as its 1925 previous Met performance precedes the Met matinee series, and Bing had mostly ceded the work to NYCO first with Treigle, and later with Ramey. Here is Ramey at close to his twilight from the Met in a very solid performance, and a good delivery from the Met chorus. Margison and Villaroel are OK, but much better tenor casting was certainly available during the Bing years.
Ramey was still in good voice for this broadcast, but this Robert Carsen production which had been practically everywhere (I saw it in SF as well as NYC) could not attract the great tenors of the day to Faust. A pity. I saw Kraus in Philadelphia, and Bergonzi has distinguished performances as well. Margerita deserves better than Villaroel as well.
Time for the Met to revive again with or without the Carsen production. Lots of good casting around for this. even if no one at Ghiaurov/ Siepi vocal accomplishment for the title role.
These days, the basso ranks are even more depleted than 13 years ago, but lots of interesting tenors and sopranos for these two roles. Calleja would be my first choice for Faust, but there are others who could do fine work, including Fabiano. Radvanovsky would be a most interesting combo Margerita/Helen and the Met chorus is several cuts above their work a dozen years ago.
I’m not wild about the Carsen production (there are worse), but a rumored revival seems to have disappeared.
Mefistofele is not represented in MOoD and should be available there, starting with capturing prime Ramey
Donizetti
Original Air Date: 03/05/1966
Schippers; Bergonzi, Peters, Corena, Guarrera
MOD Audio SID.18510427
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.
Mozart
Original Air Date: 03/25/1978
Bonynge; Morris, Sutherland, Bacquier, Varady, Brecknock, Tourangeau
MOD Audio SID.18510529
This is Julia Varady’s only season and broadcast from the Met, and earns a well-deserved place in MOoD. The missing piece is that 9 days earlier the Met telecast this, and it operatic stage. Traubel has never appeared in any form. There is so little Sutherland video from the Met. Of particular interest is Bacquier in his only season as Leporello and Morris makes a youthful but powerful Don. It also captures the last of the Berman production. The video please! Also Sutherland’s only other Donna Anna from the Met is from opening season of the new house at Lincoln Center under Karl Bohm with Siepi, Flagello, and Giaiotti with Lorengar as the Elvira. This has not been recently discussed on SIrius in 5 years and should be in MOoD.
Strauss
Original Air Date: 01/05/2002
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
SID.18510530
The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Schnaut has a lot of presence as the Dyer’s wife, but the sound is often hard to take. Brendel as Barak is good, but if one saw the original Met production Walter Berry totally equalled the spectacular work of Rysanek, Ludwig, King, and Dalis. Still “Frosch” has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
***
Thielemann is the chief attraction here and the score is presented complete at the Met for the first time. Voigt is at close to her very best. Some of R. Strauss’ very best music. The recent Jurowski run was also complete, and with all new casting, which for me was definitely better for Dyer’s Wife and Emperor. For the Amme, I think one needs to go back to Dalis and Dunn.
***
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a
little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well.