Mascagni / Leoncavallo
Original Air Date: 04/11/1964
Santi; Farrell, Tucker, Bardelli / Corelli, Amara, Colzani
MOD Audio SID.18490101
Verdi
Original Air Date: 03/13/1971
Mehta; Tucker, Arroyo, Verrett, Sereni, Michalski
MOD Audio SID.18490103
Mozart
Original Air Date: 12/14/1991
Levine; Devia, Olsen, Salminen, Kilduff, Laciura
MOD Audio SID.18490107
LA TRAVIATA : Verdi
Original Air Date: 12/04/2018
Cast: Nézet-Séguin; Damrau, Flórez, Kelsey
Live Broadcast Program
Yannick Nézet-Séguin, in his debut as Met Opera Music Director, conducts Michael Mayer’s richly textured new production, featuring a dazzling 18th-century setting that changes with the seasons. Soprano Diana Damrau plays the tragic heroine, Violetta, and tenor Juan Diego Flórez returns to the Met for the first time in five seasons to sing the role of Alfredo, Violetta’s hapless lover. Baritone Quinn Kelsey is Alfredo’s father, Germont, who destroys their love. Later performances feature Anita Hartig, Stephen Costello, Artur Ruciński, and Plácido Domingo.
Production a gift of Eva-Marie and Ray Berry / The Paiko Foundation
Major additional funding from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex
Verdi
Original Air Date: 03/13/1971
Mehta; Tucker, Arroyo, Verrett, Sereni, Michalski
MOD Audio SID.18490319
Mozart
Original Air Date: 12/14/1991
Levine; Devia, Olsen, Salminen, Kilduff, Laciura
MOD Audio SID.18490531
Verdi
Original Air Date: 03/13/1971
Mehta; Tucker, Arroyo, Verrett, Sereni, Michalski
MOD Audio SID.18490535
Mozart
Original Air Date: 12/14/1991
Levine; Devia, Olsen, Salminen, Kilduff, Laciura
MOD Audio SID.18490745
NORMA:Bellini
Original Air Date: 12/19/1970
Bonynge; Sutherland, Horne, Tagliavini, Plishka
SID.18500105
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.18500208
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.18500209
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.
SIMON BOCCANEGRA Verdi
Original Air Date: 12/29/1984
Levine; Milnes, Tomowa-Sintow, Moldoveanu, Plishka, Clark
SID.18500210
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.
TOSCA Puccini
Original Air Date: 04/11/1959
Adler; Steber, Bergonzi, London
SID.18500211
This is Steber’s last Tosca in the house (the next 3 are on tour), and only her third with the Met. She is not Tebaldi (whose Tosca I consider the absolute standard, and lucky for the Met to have captured it in full flight). Steber, however, is no shrinking violet, and she was on quite a roll during this period opening 1959 with the second season of Vanessa, a distinguished Donna Anna broadcast (on Met Player with London and Bohm in the pit), the Met premiere of Wozzeck, and wrapping up with a pair of Toscas, this one strongly cast with Bergonzi and London. Luckily in addition to Sirius this week, it’s on Met Player.
LOHENGRIN:Wagner
Original Air Date: 02/16/1985
Levine; Domingo, Tomowa-Sintow, Marton, McIntyre, Macurdy
SID.18500213
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.18500214
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.
DER FREISCHUTZ:Weber
Original Air Date: 04/15/1972
Ludwig; Kónya, Lorengar, Feldhoff, Mathis
MOD Audio SID.18500318
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.
NORMA:Bellini
Original Air Date: 12/19/1970
Bonynge; Sutherland, Horne, Tagliavini, Plishka
SID.18500422
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.
LOHENGRIN:Wagner
Original Air Date: 02/16/1985
Levine; Domingo, Tomowa-Sintow, Marton, McIntyre, Macurdy
SID.18500423
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.18500424
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.
MANON:Massenet
Original Air Date: 03/03/2001
Rudel; Swenson, Sabbatini, de Candia
MOD Audio SID.18500425
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.18500426
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.
TOSCA Puccini
Original Air Date: 04/11/1959
Adler; Steber, Bergonzi, London
SID.18500427
This is Steber’s last Tosca in the house (the next 3 are on tour), and only her third with the Met. She is not Tebaldi (whose Tosca I consider the absolute standard, and lucky for the Met to have captured it in full flight). Steber, however, is no shrinking violet, and she was on quite a roll during this period opening 1959 with the second season of Vanessa, a distinguished Donna Anna broadcast (on Met Player with London and Bohm in the pit), the Met premiere of Wozzeck, and wrapping up with a pair of Toscas, this one strongly cast with Bergonzi and London. Luckily in addition to Sirius this week, it’s on Met Player.
SIMON BOCCANEGRA Verdi
Original Air Date: 12/29/1984
Levine; Milnes, Tomowa-Sintow, Moldoveanu, Plishka, Clark
SID.18500529
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.
TOSCA Puccini
Original Air Date: 04/11/1959
Adler; Steber, Bergonzi, London
SID.18500530
This is Steber’s last Tosca in the house (the next 3 are on tour), and only her third with the Met. She is not Tebaldi (whose Tosca I consider the absolute standard, and lucky for the Met to have captured it in full flight). Steber, however, is no shrinking violet, and she was on quite a roll during this period opening 1959 with the second season of Vanessa, a distinguished Donna Anna broadcast (on Met Player with London and Bohm in the pit), the Met premiere of Wozzeck, and wrapping up with a pair of Toscas, this one strongly cast with Bergonzi and London. Luckily in addition to Sirius this week, it’s on Met Player.
OTELLO : Verdi
Dudamel; Yoncheva, Johnson Cano, Skelton (cancelled), Tanner (role debut), Dolgov, Lucic, Morris
SEASON PREMIERE – Live Broadcast
SYNOPSIS – PROGRAM
MET OPERA PRESS RELEASE: Carl Tanner will sing the title role in Verdi’s Otello in tonight’s season premiere performance, replacing Stuart Skelton, who is ill. American tenor Carl Tanner makes his Met role debut as Otello. He made his Met debut as Dick Johnson in Puccini’s La Fanciulla del West in 2010, followed by performances as Radamès in Verdi’s Aida and Turiddu in Mascagni’s Cavalleria Rusticana. Recent performances have included Radamès at Washington National Opera, Otello at Gran Teatre del Liceu in Barcelona, and Luigi in Puccini’s Il Tabarro at the Royal Opera House, Covent Garden. He was seen earlier this season singing the title role of Otello at the Bolshoi Theatre in Moscow and at the Savonlinna Festival in Finland.
Conducting sensation Gustavo Dudamel makes his Met debut leading Verdi’s towering Shakespearean masterpiece, in the first revival of Bartlett Sher’s gripping 2015 production. The cast includes dynamic tenor Stuart Skelton in the title role*, star soprano Sonya Yoncheva as the devoted but doomed Desdemona, and outstanding baritone Željko Lučić as the treacherous Iago.
*(cancelled for opening night, replaced by Carl Tanner)
Production a gift of Jacqueline Desmarais, in memory of Paul G. Desmarais Sr.
Revival a gift of Rolex
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.
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.
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.