Verdi
Original Air Date: 04/08/1967
Gardelli; MacNeil, Gedda, Peters, Giaiotti, Amparan
MOD Audio SID.19310425
MacNeil made his Met debut as Rigoletto in 1959, his overwhelming performance an instant sensation. With a silvery, pinpoint voice, Peters had become virtually the Met’s resident lyric soprano and would go on to sing 88 performances of Gilda with the company, more than any other artist. This was one of only five performances Gedda gave as the Duke at the Met. Review of Fred Kirby in Billboard – MacNeil Is Outstanding In the Met’s Rigoletto Cornell MacNeil, cast in the title role of Rigoletto, definitely is the outstanding singer in this season’s performances of the Verdi warhorse at the Metropolitan Opera. MacNeil’s rich baritone made up for some spotty singing by other principals last Saturday (19). An exception was Bonaldi Giaiotti’s Sparafucile, which was a tower of strength. Giaiotti clearly is one of the company’s most dependable artists. Roberta Peters, as sweet a Gilda as ever, sang prettily, but sounded thin in spots, especially the Caro nome ending, while John Alexander, the possessor of a rich lyric tenor voice, seemed more interested in demonstrating it than in portraying the Duke. This was really evident at the ending of La donna e mobile, when he lost Lamberto Gardelli, an experienced operatic conductor leading the opera for the first time at the Met this season. The opera house’s wealth of basses again was apparent in the fine job by Raymond Michalski in the small, but important role of Monterone. Nedda Cassei again was a competent Maddalena. The serviceable production seemed at home in the new house, but, MacNeil, in his two arias and in duets, was the afternoon’s star. What a voice!The Metropolitan Opera recently lost one of its most cherished artists, soprano Roberta Peters, who passed away in January at the age of 86. Peters graced the Met stage for 515 performances over 35 years, specializing in lyric coloratura roles to which her silvery voice brought a special radiance. Met Opera Radio on SiriusXM celebrates her remarkable contribution to the company with a pair of special broadcasts that feature Peters in two of her signature roles. The first, a newly remastered 1967 performance of Mozart’s Die Zauberflöte from the Met’s inaugural season at its new home in Lincoln Center, captures her dazzling interpretation of the Queen of the Night. The second, the Sirius premiere of a broadcast recorded just a month later, offers a glimpse of Peters as Gilda in Rigoletto, a role she sang more times at the Met than any other artist in the company’s history.
TURANDOT:Puccini
Original Air Date: 12/03/1966
Mehta; Nilsson, Freni, Corelli, Giaiotti
MOD Audio SID.19310530
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
Verdi
Original Air Date: 04/08/1967
Gardelli; MacNeil, Gedda, Peters, Giaiotti, Amparan
MOD Audio SID.19310641
MacNeil made his Met debut as Rigoletto in 1959, his overwhelming performance an instant sensation. With a silvery, pinpoint voice, Peters had become virtually the Met’s resident lyric soprano and would go on to sing 88 performances of Gilda with the company, more than any other artist. This was one of only five performances Gedda gave as the Duke at the Met. Review of Fred Kirby in Billboard – MacNeil Is Outstanding In the Met’s Rigoletto Cornell MacNeil, cast in the title role of Rigoletto, definitely is the outstanding singer in this season’s performances of the Verdi warhorse at the Metropolitan Opera. MacNeil’s rich baritone made up for some spotty singing by other principals last Saturday (19). An exception was Bonaldi Giaiotti’s Sparafucile, which was a tower of strength. Giaiotti clearly is one of the company’s most dependable artists. Roberta Peters, as sweet a Gilda as ever, sang prettily, but sounded thin in spots, especially the Caro nome ending, while John Alexander, the possessor of a rich lyric tenor voice, seemed more interested in demonstrating it than in portraying the Duke. This was really evident at the ending of La donna e mobile, when he lost Lamberto Gardelli, an experienced operatic conductor leading the opera for the first time at the Met this season. The opera house’s wealth of basses again was apparent in the fine job by Raymond Michalski in the small, but important role of Monterone. Nedda Cassei again was a competent Maddalena. The serviceable production seemed at home in the new house, but, MacNeil, in his two arias and in duets, was the afternoon’s star. What a voice!The Metropolitan Opera recently lost one of its most cherished artists, soprano Roberta Peters, who passed away in January at the age of 86. Peters graced the Met stage for 515 performances over 35 years, specializing in lyric coloratura roles to which her silvery voice brought a special radiance. Met Opera Radio on SiriusXM celebrates her remarkable contribution to the company with a pair of special broadcasts that feature Peters in two of her signature roles. The first, a newly remastered 1967 performance of Mozart’s Die Zauberflöte from the Met’s inaugural season at its new home in Lincoln Center, captures her dazzling interpretation of the Queen of the Night. The second, the Sirius premiere of a broadcast recorded just a month later, offers a glimpse of Peters as Gilda in Rigoletto, a role she sang more times at the Met than any other artist in the company’s history.
TURANDOT:Puccini
Original Air Date: 12/03/1966
Mehta; Nilsson, Freni, Corelli, Giaiotti
MOD Audio SID.19310743
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
FAUST:Gounod
Original Air Date: 04/30/2005
Levine; Alagna, Isokoski, Pape, Hvorostovsky, Jepson
MOD Audio SID.19320104
I still don’t understand why this production had to be scrapped for the McAnuff . Isokoski while in no way effacing De Los Angeles or Steber (she’s on the Met recording, but she doesn’t have a broadcast) or Freni who did 6 Fausts first season at Lincoln Center, but none of them broadcast to me is still to be preferred to Poplavskaya. Alagna is a solid Faust, but unfortunately he and his then wife Gheorghiu left before the 2003 broadcast. This is Levine’s only year doing Faust. The continuing absence of the two Bjorling Fausts (1950 and 1959) both with Siepi is a major gap in the rebroadcast efforts on Sirius. I am also wondering why when the Fleming Leech Ramey Faust was on the air this past week, Faust as a work couldn’t have waited a week.
ANTONY AND CLEOPATRA:Barber
Original Air Date: 09/16/1966
Schippers; Díaz, Price, Thomas, Flagello, Elias
MOD Audio SID.19320106
This is the opening of the new Met at Lincoln Center and the world premiere of the opera. Leontyne never sang better than this night, and luckily it is well preserved for all to hear. Lady Bird Johnson and Imelda Marcos were among the dignitaries that night. From MOD: Expectations were high when the Metropolitan Opera announced that the world premiere of Samuel Barber’s Antony and Cleopatra would christen its new house at Lincoln Center in the fall of 1966—a suitably grand work based on Shakespeare’s tragedy and written specifically for Leontyne Price as Cleopatra. A singer himself, the composer knew Price’s voice and what it could do, shaping his conception of the opera’s heroine around this iconic American diva. The 26-year-old Puerto Rican–born bass Justino Díaz starred alongside Price as Antony while Ezio Flagello portrayed Antony’s friend Enobarbus. Tenor Jess Thomas brought his heroic presence to the role of Octavius Caesar, and the beloved mezzo-soprano Rosalind Elias, already a Met veteran in her 30s, sang the role of Cleopatra’s attendant Charmian. Thanks to a Texaco–Metropolitan Opera Radio Network broadcast from the opera’s world premiere, this indelible piece of Met history has been preserved for generations.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 02/19/1972
Franci, Bergonzi, Scotto, Corena, Sereni
MOD Audio SID.19320213
This is as good as it gets. Bergonzi is just that scintilla more seductive than Kraus, and the other 3 Italians are close to perfection. I miss Sereni and Corena a lot when I hear the current crop of buffos. Don’t miss.
LUISA MILLER:Verdi
Original Air Date: 02/17/1968
Schippers; Caballé, Tucker, Milnes, Tozzi, Flagello, Pearl
MOD Audio SID.19320315
This production brought Luisa Miller into the mainstream repertory. Caballe is caught at close to her very best, Tucker in tremendous Indian summer form, and Milnes a big breakthrough for him into the core Verdi parts. This is also available on Sony Historical CD as well and its regular appearance is well deserved.
FAUST:Gounod
Original Air Date: 04/30/2005
Levine; Alagna, Isokoski, Pape, Hvorostovsky, Jepson
MOD Audio SID.19320320
I still don’t understand why this production had to be scrapped for the McAnuff . Isokoski while in no way effacing De Los Angeles or Steber (she’s on the Met recording, but she doesn’t have a broadcast) or Freni who did 6 Fausts first season at Lincoln Center, but none of them broadcast to me is still to be preferred to Poplavskaya. Alagna is a solid Faust, but unfortunately he and his then wife Gheorghiu left before the 2003 broadcast. This is Levine’s only year doing Faust. The continuing absence of the two Bjorling Fausts (1950 and 1959) both with Siepi is a major gap in the rebroadcast efforts on Sirius. I am also wondering why when the Fleming Leech Ramey Faust was on the air this past week, Faust as a work couldn’t have waited a week.
ANTONY AND CLEOPATRA:Barber
Original Air Date: 09/16/1966
Schippers; Díaz, Price, Thomas, Flagello, Elias
MOD Audio SID.19320422
This is the opening of the new Met at Lincoln Center and the world premiere of the opera. Leontyne never sang better than this night, and luckily it is well preserved for all to hear. Lady Bird Johnson and Imelda Marcos were among the dignitaries that night. From MOD: Expectations were high when the Metropolitan Opera announced that the world premiere of Samuel Barber’s Antony and Cleopatra would christen its new house at Lincoln Center in the fall of 1966—a suitably grand work based on Shakespeare’s tragedy and written specifically for Leontyne Price as Cleopatra. A singer himself, the composer knew Price’s voice and what it could do, shaping his conception of the opera’s heroine around this iconic American diva. The 26-year-old Puerto Rican–born bass Justino Díaz starred alongside Price as Antony while Ezio Flagello portrayed Antony’s friend Enobarbus. Tenor Jess Thomas brought his heroic presence to the role of Octavius Caesar, and the beloved mezzo-soprano Rosalind Elias, already a Met veteran in her 30s, sang the role of Cleopatra’s attendant Charmian. Thanks to a Texaco–Metropolitan Opera Radio Network broadcast from the opera’s world premiere, this indelible piece of Met history has been preserved for generations.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 02/19/1972
Franci, Bergonzi, Scotto, Corena, Sereni
MOD Audio SID.19320529
This is as good as it gets. Bergonzi is just that scintilla more seductive than Kraus, and the other 3 Italians are close to perfection. I miss Sereni and Corena a lot when I hear the current crop of buffos. Don’t miss.
FAUST:Gounod
Original Air Date: 04/30/2005
Levine; Alagna, Isokoski, Pape, Hvorostovsky, Jepson
MOD Audio SID.19320530
I still don’t understand why this production had to be scrapped for the McAnuff . Isokoski while in no way effacing De Los Angeles or Steber (she’s on the Met recording, but she doesn’t have a broadcast) or Freni who did 6 Fausts first season at Lincoln Center, but none of them broadcast to me is still to be preferred to Poplavskaya. Alagna is a solid Faust, but unfortunately he and his then wife Gheorghiu left before the 2003 broadcast. This is Levine’s only year doing Faust. The continuing absence of the two Bjorling Fausts (1950 and 1959) both with Siepi is a major gap in the rebroadcast efforts on Sirius. I am also wondering why when the Fleming Leech Ramey Faust was on the air this past week, Faust as a work couldn’t have waited a week.
LUISA MILLER:Verdi
Original Air Date: 02/17/1968
Schippers; Caballé, Tucker, Milnes, Tozzi, Flagello, Pearl
MOD Audio SID.19320531
This production brought Luisa Miller into the mainstream repertory. Caballe is caught at close to her very best, Tucker in tremendous Indian summer form, and Milnes a big breakthrough for him into the core Verdi parts. This is also available on Sony Historical CD as well and its regular appearance is well deserved.
ANTONY AND CLEOPATRA:Barber
Original Air Date: 09/16/1966
Schippers; Díaz, Price, Thomas, Flagello, Elias
MOD Audio SID.19320639
This is the opening of the new Met at Lincoln Center and the world premiere of the opera. Leontyne never sang better than this night, and luckily it is well preserved for all to hear. Lady Bird Johnson and Imelda Marcos were among the dignitaries that night. From MOD: Expectations were high when the Metropolitan Opera announced that the world premiere of Samuel Barber’s Antony and Cleopatra would christen its new house at Lincoln Center in the fall of 1966—a suitably grand work based on Shakespeare’s tragedy and written specifically for Leontyne Price as Cleopatra. A singer himself, the composer knew Price’s voice and what it could do, shaping his conception of the opera’s heroine around this iconic American diva. The 26-year-old Puerto Rican–born bass Justino Díaz starred alongside Price as Antony while Ezio Flagello portrayed Antony’s friend Enobarbus. Tenor Jess Thomas brought his heroic presence to the role of Octavius Caesar, and the beloved mezzo-soprano Rosalind Elias, already a Met veteran in her 30s, sang the role of Cleopatra’s attendant Charmian. Thanks to a Texaco–Metropolitan Opera Radio Network broadcast from the opera’s world premiere, this indelible piece of Met history has been preserved for generations.
FAUST:Gounod
Original Air Date: 04/30/2005
Levine; Alagna, Isokoski, Pape, Hvorostovsky, Jepson
MOD Audio SID.19320743
I still don’t understand why this production had to be scrapped for the McAnuff . Isokoski while in no way effacing De Los Angeles or Steber (she’s on the Met recording, but she doesn’t have a broadcast) or Freni who did 6 Fausts first season at Lincoln Center, but none of them broadcast to me is still to be preferred to Poplavskaya. Alagna is a solid Faust, but unfortunately he and his then wife Gheorghiu left before the 2003 broadcast. This is Levine’s only year doing Faust. The continuing absence of the two Bjorling Fausts (1950 and 1959) both with Siepi is a major gap in the rebroadcast efforts on Sirius. I am also wondering why when the Fleming Leech Ramey Faust was on the air this past week, Faust as a work couldn’t have waited a week.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 02/19/1972
Franci, Bergonzi, Scotto, Corena, Sereni
MOD Audio SID.19320745
This is as good as it gets. Bergonzi is just that scintilla more seductive than Kraus, and the other 3 Italians are close to perfection. I miss Sereni and Corena a lot when I hear the current crop of buffos. Don’t miss.
LUISA MILLER:Verdi
Original Air Date: 02/17/1968
Schippers; Caballé, Tucker, Milnes, Tozzi, Flagello, Pearl
MOD Audio SID.19320747
This production brought Luisa Miller into the mainstream repertory. Caballe is caught at close to her very best, Tucker in tremendous Indian summer form, and Milnes a big breakthrough for him into the core Verdi parts. This is also available on Sony Historical CD as well and its regular appearance is well deserved.
LES TROYENS:Berlioz
Original Air Date: 02/18/1984
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
MOD Audio SID.19330102
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
Original Air Date: 02/18/1984
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
MOD Audio SID.19330103
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.
ARIADNE AUF NAXOS:Strauss
Original Air Date: 03/20/1993
Marin; Norman, Moser, Swenson, Mentzer, Stewart, Oswald
MOD Audio SID.19330104
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. This is Norman’s last Ariadne broadcast and in the new production for her. See the 1988 video (which is on DVD from DG) with Troyanos and Battle under Levine. Norman five years earlier under Levine has a sterling broadcast and telecast with King, Troyanos, and Battle.
DAS RHEINGOLD:Wagner
Original Air Date: 02/22/1969
von Karajan; Adam, Reynolds, Stolze, Kelemen, Talvela, Ridderbusch
MOD Audio SID.19330105
One of Karajan’s only 2 broadcasts. This performance is available in MOoD, and if Adam is far from my favorite Wotan, Reynolds, Kelemen and Stolze are wonderful as Fricka, Alberich, and Loge respectively. Reynolds replaced Veasey who was will, and also sing Flosshilde (her originally scheduled role) with Shirley Love picking up the Rhinemaiden in the final scene. Milnes is an excellent Donner. I was in the theatre for this very special performance and still have wonderful memories of it. Karajan’s Met farewell is the following Saturday with the Walkure broadcast.
COSÌ FAN TUTTE:Mozart
Original Air Date: 01/20/1990
Levine; Mims, Hadley, Troyanos, Hampson, Hong, Van Allan
MOD Audio SID.19330209
This performance is notable as Troyanos’ only Met season as Dorabella, and the same holds true for Hampson’s Guglielmo. She has a well regarded RCA recording from 1968 (!!!) very early in her career. I find Levine at his most inspired in Mozart, and especially so in Cosi. It will be his return opera to the Met next season and is scheduled for Live in HD. The ensemble is well drilled. Worth a listen. Updated note : Sirius subscribers have heard Levine’s return in Cosi already with the matinee broadcast and Live in HD to come in March 2014. I thought Levine lived up to his considerable reputation in the fall Cosis.
DIE FRAU OHNE SCHATTEN:Strauss
Original Air Date: 04/01/1978
Böhm; Rysanek, King, Schröder-Feinen, Berry, Dunn
MOD Audio SID.19330212
This is the last of the 4 Bohm broadcasts starting in 1966 all with Rysanek and Berry; 3 of the 4 are with King, but the first three feature Ludwig and Dalis in their parts; Schroder-Feinen and Dunn are first rate presences as well. It is a shame that the 1966 premiere season and 1971 performances which have been on Sirius with some regularity have not made their way to MOoD. The 1969 broadcast is reported in the MetDatabase as having been on Sirius, but according to my records it has not been broadcast in the last four years. as has the 1971 Unfortunately Bohm never came close to the near completeness of his 1955 Decca recording at the Met, and a steady increase of cuts came with each revival. NEVERTHELESS, one could do much worse than hear one of the great Straussian ensembles he held together for over 2 decades in New York. Frau’s best moments are right up there with Ariadne, Elektra, and Rosenkavalier, and the weaker stuff is better than the weaker Rosenkavalier pages.
LE NOZZE DI FIGARO:Mozart
Original Air Date: 01/23/1960
Leinsdorf; Siepi, Söderström, Della Casa, Borg, Miller
MOD Audio SID.19330213
This performance has been on before, and chiefly notable for Siepi’s Figaro and Soderstroem’s Susanna. Soderstroem and Borg had made their debuts when this production premiered a few months before the broadcast with largely the same cast. Leinsdorf is second only to Levine in number of Figaro performances, Della Casa at 47 second only to Steber’s 55 Countesses and of course Siepi’s 79 Figaros, almost twice Pinza’s number and Mildred Miller at 61 holds the Met record for Cherubino. So solid performances all around, not least from relative newcomer Soderstrom as Susanna. There are many fine Figaros today, but I do miss Siepi’s combination of elegance and rich dark sound.
LA JUIVE:Halévy
Original Air Date: 12/13/2003
Viotti; Isokoski, Shicoff, Futral, Cutler, Furlanetto
MOD Audio SID.19330214
Viotti died only a year or so after premiering the Juive. He was a real talent, and Shicoff, Isokoski and Furlanetto all bring their considerable talents in a production transferred from Vienna. This is the Met’s first season since the mid 1930s and its only broadcast to date. Some early 1930s operas were broadcast but don’t exist. La Juive was never broadcast until 2003.
CAVALLERIA RUSTICANA / PAGLIACCI:Mascagni / Leoncavallo
Original Air Date: 02/01/1941
Calusio; Roman, Jagel, Warren / Martinelli, Greco, Tibbett
MOD Audio SID.19330316
The star performers on this Cav/Pag are Martinelli and Tibbett, but the remarkable performance is from Stella Roman as Santuzza. She has many excellent broadcasts from the Met in the 1940s, but the only two which have made it to Sirius and MOoD are this Cav/Pag, and a Forza with many of the same singers under Bruno Walter in 1943. There is also a Bjorling Trovatore which has made the rounds of the private market. She’s not a perfect singer, but severely underrated.
LES TROYENS:Berlioz
Original Air Date: 02/18/1984
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
MOD Audio SID.19330318
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
Original Air Date: 02/18/1984
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
MOD Audio SID.19330319
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.
ARIADNE AUF NAXOS:Strauss
Original Air Date: 03/20/1993
Marin; Norman, Moser, Swenson, Mentzer, Stewart, Oswald
MOD Audio SID.19330320
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. This is Norman’s last Ariadne broadcast and in the new production for her. See the 1988 video (which is on DVD from DG) with Troyanos and Battle under Levine. Norman five years earlier under Levine has a sterling broadcast and telecast with King, Troyanos, and Battle.
DAS RHEINGOLD:Wagner
Original Air Date: 02/22/1969
von Karajan; Adam, Reynolds, Stolze, Kelemen, Talvela, Ridderbusch
MOD Audio SID.19330321
One of Karajan’s only 2 broadcasts. This performance is available in MOoD, and if Adam is far from my favorite Wotan, Reynolds, Kelemen and Stolze are wonderful as Fricka, Alberich, and Loge respectively. Reynolds replaced Veasey who was will, and also sing Flosshilde (her originally scheduled role) with Shirley Love picking up the Rhinemaiden in the final scene. Milnes is an excellent Donner. I was in the theatre for this very special performance and still have wonderful memories of it. Karajan’s Met farewell is the following Saturday with the Walkure broadcast.