In this 11th year, over ten nights performances from the Met’s Live in HD series will be shown starting with a screening of FUNNY FACE in a special co-presentation with Film at Lincoln Center. Screenings run from August 23 through September 2. There will be 3000 seats in the Plaza in front of the Opera House with an additional standing room area. Cancellations due to thunder/lighting or high wind will not be rescheduled.
MESSA DA REQUIEM:Verdi
Solti; Price, Elias, Bergonzi, Siepi
Original Air Date: 03/28/1964
MOD Audio
SID.19400211
This broadcast was In Memory of John F. Kennedy. Although the sound is definitely AM (not what one wants for the Manzoni Requiem), this performance documents three of the most notable Verdi singers of the 20th century: Price, Bergonzi, Siepi. Elias is remarkable for her blend with Price (on many commercial recordings as well) and this is Solti’s final Met appearance (his final full Met staged performance is Aida from December 1963 still awaits rebroadcast on Sirius). The two performances including the day before the broadcast also included Act 3, Scene 1 of Parsifal with Jerome Hines, Jess Thomas, and Marcia Baldwin.
MESSA DA REQUIEM:Verdi
Solti; Price, Elias, Bergonzi, Siepi
Original Air Date: 03/28/1964
MOD Audio
SID.19400319
This broadcast was In Memory of John F. Kennedy. Although the sound is definitely AM (not what one wants for the Manzoni Requiem), this performance documents three of the most notable Verdi singers of the 20th century: Price, Bergonzi, Siepi. Elias is remarkable for her blend with Price (on many commercial recordings as well) and this is Solti’s final Met appearance (his final full Met staged performance is Aida from December 1963 still awaits rebroadcast on Sirius). The two performances including the day before the broadcast also included Act 3, Scene 1 of Parsifal with Jerome Hines, Jess Thomas, and Marcia Baldwin.
MESSA DA REQUIEM:Verdi
Solti; Price, Elias, Bergonzi, Siepi
Original Air Date: 03/28/1964
MOD Audio
SID.19400529
This broadcast was In Memory of John F. Kennedy. Although the sound is definitely AM (not what one wants for the Manzoni Requiem), this performance documents three of the most notable Verdi singers of the 20th century: Price, Bergonzi, Siepi. Elias is remarkable for her blend with Price (on many commercial recordings as well) and this is Solti’s final Met appearance (his final full Met staged performance is Aida from December 1963 still awaits rebroadcast on Sirius). The two performances including the day before the broadcast also included Act 3, Scene 1 of Parsifal with Jerome Hines, Jess Thomas, and Marcia Baldwin.
IL TROVATORE:Verdi
Conlon; Giacomini, Price, Cortez, Quilico, Cheek
Original Air Date: 02/06/1982
SID.19420103
SR: Besides Price’s excellent “known quantity” Leonora, this broadcast offers the opportunity for Giacomini fans to relish his Manrico and to hear the very much in his prime Louis Quilico as di Luna. Some of the bloom had, by 1982, begun to depart from Viorica Cortez’ voice..but she still had much to offer. All-in-all an enjoyable outing. This is a very young Conlon who still had 5 or 6 broadcasts already under his belt. I have no strong memory of this performance, but Giacomini’s certainly had the heft for Manrico if not necessarily easy upper register. Cortez is not one of my favorites. This is getting towards the end for Price. Listen to her in 1961 where her Leonora is stunning, and that is on Met Player as well as Sony CDs.
IL TROVATORE:Verdi
Conlon; Giacomini, Price, Cortez, Quilico, Cheek
Original Air Date: 02/06/1982
SID.19420320
SR: Besides Price’s excellent “known quantity” Leonora, this broadcast offers the opportunity for Giacomini fans to relish his Manrico and to hear the very much in his prime Louis Quilico as di Luna. Some of the bloom had, by 1982, begun to depart from Viorica Cortez’ voice..but she still had much to offer. All-in-all an enjoyable outing. This is a very young Conlon who still had 5 or 6 broadcasts already under his belt. I have no strong memory of this performance, but Giacomini’s certainly had the heft for Manrico if not necessarily easy upper register. Cortez is not one of my favorites. This is getting towards the end for Price. Listen to her in 1961 where her Leonora is stunning, and that is on Met Player as well as Sony CDs.
IL TROVATORE:Verdi
Conlon; Giacomini, Price, Cortez, Quilico, Cheek
Original Air Date: 02/06/1982
SID.19420637
SR: Besides Price’s excellent “known quantity” Leonora, this broadcast offers the opportunity for Giacomini fans to relish his Manrico and to hear the very much in his prime Louis Quilico as di Luna. Some of the bloom had, by 1982, begun to depart from Viorica Cortez’ voice..but she still had much to offer. All-in-all an enjoyable outing. This is a very young Conlon who still had 5 or 6 broadcasts already under his belt. I have no strong memory of this performance, but Giacomini’s certainly had the heft for Manrico if not necessarily easy upper register. Cortez is not one of my favorites. This is getting towards the end for Price. Listen to her in 1961 where her Leonora is stunning, and that is on Met Player as well as Sony CDs.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Domingo, MacNeil, Talvela, Elias, Capecchi
Original Air Date: 03/12/1977
SID.19450104
This performance is available on Met Opera on Demand (MOoD). Likely because this is one of Domingo’s only two broadcasts as Alvaro (the other is with Sharon Sweet). Price is very solid in her upper middle, but her tone is not that of a dramatic, and that is what Leonora is; the additional coloring is exactly what Milanov and Tebaldi have. Domingo is one category too small and lacks the expansiveness of Tucker or Corelli, and for styling, that goes to Bergonzi. Luckily all three gentlemen broadcast Forza from the Met, with Bergonzi and Corelli both opposite Price. Talvela is not the right sound for Guardiano, which has often been in the steady hands of Siepi and Giaiotti. Levine is the champion Forza conductor with 57 performances; amazingly Fausto Cleva never did the work at the Met. The German wing (Bruno Walter, Fritz Stiedry, George Schick) had a tight rein on it in the 40s and 50s.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Domingo, MacNeil, Talvela, Elias, Capecchi
Original Air Date: 03/12/1977
SID.19450423
This performance is available on Met Opera on Demand (MOoD). Likely because this is one of Domingo’s only two broadcasts as Alvaro (the other is with Sharon Sweet). Price is very solid in her upper middle, but her tone is not that of a dramatic, and that is what Leonora is; the additional coloring is exactly what Milanov and Tebaldi have. Domingo is one category too small and lacks the expansiveness of Tucker or Corelli, and for styling, that goes to Bergonzi. Luckily all three gentlemen broadcast Forza from the Met, with Bergonzi and Corelli both opposite Price. Talvela is not the right sound for Guardiano, which has often been in the steady hands of Siepi and Giaiotti. Levine is the champion Forza conductor with 57 performances; amazingly Fausto Cleva never did the work at the Met. The German wing (Bruno Walter, Fritz Stiedry, George Schick) had a tight rein on it in the 40s and 50s.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Domingo, MacNeil, Talvela, Elias, Capecchi
Original Air Date: 03/12/1977
SID.19450642
This performance is available on Met Opera on Demand (MOoD). Likely because this is one of Domingo’s only two broadcasts as Alvaro (the other is with Sharon Sweet). Price is very solid in her upper middle, but her tone is not that of a dramatic, and that is what Leonora is; the additional coloring is exactly what Milanov and Tebaldi have. Domingo is one category too small and lacks the expansiveness of Tucker or Corelli, and for styling, that goes to Bergonzi. Luckily all three gentlemen broadcast Forza from the Met, with Bergonzi and Corelli both opposite Price. Talvela is not the right sound for Guardiano, which has often been in the steady hands of Siepi and Giaiotti. Levine is the champion Forza conductor with 57 performances; amazingly Fausto Cleva never did the work at the Met. The German wing (Bruno Walter, Fritz Stiedry, George Schick) had a tight rein on it in the 40s and 50s.
ERNANI:Verdi
Schippers; Bergonzi, Price, MacNeil, Tozzi, Ordassy, Nagy, Reitan
Original Air Date: 12/01/1962
MOD Audio
SID.19520208
This is one of the classic Met broadcasts, and on balance the best of the Ernani broadcasts. Corelli was more of an in-house Ernani, but for the broadcast mikes, Bergonzi is close to ideal. MacNeil, one of the Met mainstay baritones on this occasion delivers an absolutely historic performance with a seemingly unending upper register, but also a command of the style that surpassed any modern baritone at the Met. Price is not ideal as Elvira, but she has many superb moments, especially as captured by the mikes. Fortunately this performance as well as the 1965 with Corelli, Sereni, and Siepi joining Price are BOTH on MOoD, and both performances serve Verdi very well indeed. Available in a Sony historical CD and on MOoD. As much as I love Bergonzi, the most remarkable performance of the afternoon is MacNeil in one of his greatest if not greatest broadcast appearance. Do not miss.
ERNANI:Verdi
Schippers; Bergonzi, Price, MacNeil, Tozzi, Ordassy, Nagy, Reitan
Original Air Date: 12/01/1962
MOD Audio
SID.19520424
This is one of the classic Met broadcasts, and on balance the best of the Ernani broadcasts. Corelli was more of an in-house Ernani, but for the broadcast mikes, Bergonzi is close to ideal. MacNeil, one of the Met mainstay baritones on this occasion delivers an absolutely historic performance with a seemingly unending upper register, but also a command of the style that surpassed any modern baritone at the Met. Price is not ideal as Elvira, but she has many superb moments, especially as captured by the mikes. Fortunately this performance as well as the 1965 with Corelli, Sereni, and Siepi joining Price are BOTH on MOoD, and both performances serve Verdi very well indeed. Available in a Sony historical CD and on MOoD. As much as I love Bergonzi, the most remarkable performance of the afternoon is MacNeil in one of his greatest if not greatest broadcast appearance. Do not miss.
ERNANI:Verdi
Schippers; Bergonzi, Price, MacNeil, Tozzi, Ordassy, Nagy, Reitan
Original Air Date: 12/01/1962
MOD Audio
SID.19520641
This is one of the classic Met broadcasts, and on balance the best of the Ernani broadcasts. Corelli was more of an in-house Ernani, but for the broadcast mikes, Bergonzi is close to ideal. MacNeil, one of the Met mainstay baritones on this occasion delivers an absolutely historic performance with a seemingly unending upper register, but also a command of the style that surpassed any modern baritone at the Met. Price is not ideal as Elvira, but she has many superb moments, especially as captured by the mikes. Fortunately this performance as well as the 1965 with Corelli, Sereni, and Siepi joining Price are BOTH on MOoD, and both performances serve Verdi very well indeed. Available in a Sony historical CD and on MOoD. As much as I love Bergonzi, the most remarkable performance of the afternoon is MacNeil in one of his greatest if not greatest broadcast appearance. Do not miss.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020106
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020317
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020533
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030103
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030316
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030422
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030534
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030636
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030748
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
ANTONY AND CLEOPATRA:Barber
Schippers; Díaz, Price, Thomas, Flagello, Elias
Original Air Date: 09/16/1966
MOD Audio
SID.20080107
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.
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080212
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080428
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ANTONY AND CLEOPATRA:Barber
Schippers; Díaz, Price, Thomas, Flagello, Elias
Original Air Date: 09/16/1966
MOD Audio
SID.20080531
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.
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080532
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080744
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ANTONY AND CLEOPATRA:Barber
Schippers; Díaz, Price, Thomas, Flagello, Elias
Original Air Date: 09/16/1966
MOD Audio
SID.20080746
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.
AIDA:Verdi
Schippers; Price, Bergonzi, Bumbry, Merrill, Hines
Original Air Date: 02/25/1967
MOD Audio
SID.20120103
On paper this performance looks like the dream cast. It is not. Price who sang possibly her very best performance ever in the opening night Antony and Cleopatra six months earlier, sings much too much on “principal” with a particularly vulgar opening of Ritorna vincitor. What is most sad is that her first two Aida broadcasts, the first with Gorr, Bergonzi, Sereni, Siepi, and Macurdy under Solti from 1963, the second from 1965 with Dalis, Tucker, Merrill, Ghiuselev, Michalski under Mehta have not been on Sirius. The first I remember vividly , and has been on private European pressings; it is one of the very best Met Aidas. Bergonzi is substantially stronger in 1963; The 1965 performance simply has Mehta as a better Aida conductor than Schippers. Richard Tucker, whose career is not overlooked by the Sirius folk, has not managed to have his Radames on Sirius despite having broadcast the role with Nilsson, Price, and Arroyo. Bumbry is here in the first of her 3 broadcast Amnerises, and she is better with Arroyo which has been on Sirius. Merrill is in remarkable voice 21 years after his debut (a few too many woofs, but still the most mellifluous Amonasro ever (though plenty of testosterone if not real anger). So here are 4 relatively recent Aidas (post 1960) which somehow can’t get to the airwaves. This 1967 is on Met Opera on Demand (MOoD) and also appears in the 2013 Verdi at the Met bicentennial box, but it still does not rank as one of Price’s best efforts, or one of the best modern Met Aidas. Available in MOoD. This is also in the new Verdi box , but the missing AIda should be the 1963 with Solti conducting Price, Gorr, Bergonzi, Siepi, Macurdy. Bergonzi cracks in the Celeste AIda and neither Price nor Bumbry are at their best.
AIDA:Verdi
Schippers; Price, Bergonzi, Bumbry, Merrill, Hines
Original Air Date: 02/25/1967
MOD Audio
SID.20120319
On paper this performance looks like the dream cast. It is not. Price who sang possibly her very best performance ever in the opening night Antony and Cleopatra six months earlier, sings much too much on “principal” with a particularly vulgar opening of Ritorna vincitor. What is most sad is that her first two Aida broadcasts, the first with Gorr, Bergonzi, Sereni, Siepi, and Macurdy under Solti from 1963, the second from 1965 with Dalis, Tucker, Merrill, Ghiuselev, Michalski under Mehta have not been on Sirius. The first I remember vividly , and has been on private European pressings; it is one of the very best Met Aidas. Bergonzi is substantially stronger in 1963; The 1965 performance simply has Mehta as a better Aida conductor than Schippers. Richard Tucker, whose career is not overlooked by the Sirius folk, has not managed to have his Radames on Sirius despite having broadcast the role with Nilsson, Price, and Arroyo. Bumbry is here in the first of her 3 broadcast Amnerises, and she is better with Arroyo which has been on Sirius. Merrill is in remarkable voice 21 years after his debut (a few too many woofs, but still the most mellifluous Amonasro ever (though plenty of testosterone if not real anger). So here are 4 relatively recent Aidas (post 1960) which somehow can’t get to the airwaves. This 1967 is on Met Opera on Demand (MOoD) and also appears in the 2013 Verdi at the Met bicentennial box, but it still does not rank as one of Price’s best efforts, or one of the best modern Met Aidas. Available in MOoD. This is also in the new Verdi box , but the missing AIda should be the 1963 with Solti conducting Price, Gorr, Bergonzi, Siepi, Macurdy. Bergonzi cracks in the Celeste AIda and neither Price nor Bumbry are at their best.