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.
DON PASQUALE:Donizetti
Benini; Alaimo, Netrebko, Flórez, Kwiecien
Original Air Date: 04/15/2006
MOD Audio
SID.19420422
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.
GÖTTERDÄMMERUNG:Wagner
Levine; Eaglen, Andersen, Halfvarson, Held, Radvanovsky, Palmer
Original Air Date: 04/22/2000
MOD Audio
SID.19420747
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.
GÖTTERDÄMMERUNG:Wagner
Levine; Eaglen, Andersen, Halfvarson, Held, Radvanovsky, Palmer
Original Air Date: 04/22/2000
MOD Audio
SID.19430101
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.
DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430102
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.
IL BARBIERE DI SIVIGLIA:Rossini
Weikert; Hampson, von Stade, Olsen, Quilico, Ramey
Original Air Date: 02/29/1992
MOD Audio
SID.19430103
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. Appears almost as much as BOHEME
UN BALLO IN MASCHERA:Verdi
Santi; Tucker, Nilsson, Merrill, Dobbs, Madeira
Original Air Date: 01/12/1963
MOD Audio
SID.19430104
This performance finds the principals in very strong form (Nilsson’s only broadcast from the Met of Amelia) and Tucker is an excellent match for her. Merrill is in his run of eight of the nine Ballo broadcasts between 1955 and 1985!!!! Definitely worth a listen. (Schonberg NYT Review,1/11/63) Birgit Nilsson is by common consent the greatest active Wagenrian soprano, but that does not mean she cannot sing other music. She mader her first appearance of the season at the Metropolitan Opera on Wednesday night, and she sang the role of Amelia in Verdi’s UN BOOLO IN MASCHERA for the first time at the house. And she sang a spectacular performance. It was not the kind of singing, though, that most Italian sopranos bring to the role…Nillsson’s is a Nordic voice with a wider sound than that produced by the Italians, and hence a little cooler. Also, like most Nordic singers, she holds her emotins in check. There is no sobbing, no carrying on, and the general impression is one of complete vocal and emotional control. But what control! …. for more >
DIE WALKÜRE:Wagner
Levine; Behrens, Morris, Norman, Lakes, Ludwig, Moll
Original Air Date: 04/08/1989
MOD AudioMOD Video
SID.19430105
This performance is in the MOoD as a video. Lakes is operating in a league that is at least a half step beyond him. Behrens, who is certainly well schooled, is not the right voice for me. Norman is very much her own stylist. Still this is a strong cast overall, and finds the Met orchestra and Levine in their first cycle together in extremely committed form.