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.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410104
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410212
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410319
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410428
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410637
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410639
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
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.
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.
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.
ERNANI:Verdi
Mitropoulos; Del Monaco, Milanov, Warren, Siepi
Original Air Date: 12/29/1956
MOD Audio
SID.19440210
Elvira is definitely a bit late for Milanov, but the men are the best in the business for these roles in 1956, and all among the greatest ever in these roles. It is the first Met broadcast of Ernani, and although Del Monaco is slightly better in his Florence broadcast with Cerquetti, he is the Verdian bandit to the life. This is a bit late for Milanov, but Warren and Siepi are certainly top drawer as well. Mitropoulos brings his accustomed fire and a few odd choices in musical text. Mitropoulos and Del Monaco are better represented from Florence, and this part is simply too late for Milanov. This part is HARD– check Freni’s challenge at La Scala. Ernani involvami demands full blown coloratura mastery from the moment you open your mouth, and while the rest of the role is mostly ensembles, it’s challenging. Leona Mitchell is mostly very up to the challenges. Two good stabs at the part were NOT broadcast, Arroyo’s opening night with Bergonzi and Milnes, and Millo, (two in the house, four in the parks very early in her Met career). The good news on Ernani is the complete Met broadcast history is documented on Sirius.
ERNANI:Verdi
Mitropoulos; Del Monaco, Milanov, Warren, Siepi
Original Air Date: 12/29/1956
MOD Audio
SID.19440426
Elvira is definitely a bit late for Milanov, but the men are the best in the business for these roles in 1956, and all among the greatest ever in these roles. It is the first Met broadcast of Ernani, and although Del Monaco is slightly better in his Florence broadcast with Cerquetti, he is the Verdian bandit to the life. This is a bit late for Milanov, but Warren and Siepi are certainly top drawer as well. Mitropoulos brings his accustomed fire and a few odd choices in musical text. Mitropoulos and Del Monaco are better represented from Florence, and this part is simply too late for Milanov. This part is HARD– check Freni’s challenge at La Scala. Ernani involvami demands full blown coloratura mastery from the moment you open your mouth, and while the rest of the role is mostly ensembles, it’s challenging. Leona Mitchell is mostly very up to the challenges. Two good stabs at the part were NOT broadcast, Arroyo’s opening night with Bergonzi and Milnes, and Millo, (two in the house, four in the parks very early in her Met career). The good news on Ernani is the complete Met broadcast history is documented on Sirius.
ERNANI:Verdi
Mitropoulos; Del Monaco, Milanov, Warren, Siepi
Original Air Date: 12/29/1956
MOD Audio
SID.19440642
Elvira is definitely a bit late for Milanov, but the men are the best in the business for these roles in 1956, and all among the greatest ever in these roles. It is the first Met broadcast of Ernani, and although Del Monaco is slightly better in his Florence broadcast with Cerquetti, he is the Verdian bandit to the life. This is a bit late for Milanov, but Warren and Siepi are certainly top drawer as well. Mitropoulos brings his accustomed fire and a few odd choices in musical text. Mitropoulos and Del Monaco are better represented from Florence, and this part is simply too late for Milanov. This part is HARD– check Freni’s challenge at La Scala. Ernani involvami demands full blown coloratura mastery from the moment you open your mouth, and while the rest of the role is mostly ensembles, it’s challenging. Leona Mitchell is mostly very up to the challenges. Two good stabs at the part were NOT broadcast, Arroyo’s opening night with Bergonzi and Milnes, and Millo, (two in the house, four in the parks very early in her Met career). The good news on Ernani is the complete Met broadcast history is documented on Sirius.
LA BOHÈME:Puccini
Cleva; Sayão, Di Stefano, Hunt, Valdengo, Siepi
Original Air Date: 03/17/1951
MOD Audio
SID.20010211
The oldest BOHEME in the MOD catalog, it’s Siepi’s debut MET season. Although Sayao is Brazilian, she is certainly at one with the idiom and the luxury of Di Stefano, Valdengo, and Siepi among the Bohemians is pleasure indeed. Paul Jackson in his survey of Met broadcasts isn’t thrilled with Cleva, but listening to the MOoD is quite a dose of sunshine, and the sound for a 65 year old broadcast is quite clear.
LA BOHÈME:Puccini
Cleva; Sayão, Di Stefano, Hunt, Valdengo, Siepi
Original Air Date: 03/17/1951
MOD Audio
SID.20010427
The oldest BOHEME in the MOD catalog, it’s Siepi’s debut MET season. Although Sayao is Brazilian, she is certainly at one with the idiom and the luxury of Di Stefano, Valdengo, and Siepi among the Bohemians is pleasure indeed. Paul Jackson in his survey of Met broadcasts isn’t thrilled with Cleva, but listening to the MOoD is quite a dose of sunshine, and the sound for a 65 year old broadcast is quite clear.
LA BOHÈME:Puccini
Cleva; Sayão, Di Stefano, Hunt, Valdengo, Siepi
Original Air Date: 03/17/1951
MOD Audio
SID.20010743
The oldest BOHEME in the MOD catalog, it’s Siepi’s debut MET season. Although Sayao is Brazilian, she is certainly at one with the idiom and the luxury of Di Stefano, Valdengo, and Siepi among the Bohemians is pleasure indeed. Paul Jackson in his survey of Met broadcasts isn’t thrilled with Cleva, but listening to the MOoD is quite a dose of sunshine, and the sound for a 65 year old broadcast is quite clear.
LA BOHÈME:Puccini
Cleva; Sayão, Di Stefano, Hunt, Valdengo, Siepi
Original Air Date: 03/17/1951
MOD Audio
SID.20010748
The oldest BOHEME in the MOD catalog, it’s Siepi’s debut MET season. Although Sayao is Brazilian, she is certainly at one with the idiom and the luxury of Di Stefano, Valdengo, and Siepi among the Bohemians is pleasure indeed. Paul Jackson in his survey of Met broadcasts isn’t thrilled with Cleva, but listening to the MOoD is quite a dose of sunshine, and the sound for a 65 year old broadcast is quite clear.
LA GIOCONDA:Ponchielli
Cleva; Milanov, Poggi, Warren, Rankin, Siepi
Original Air Date: 04/20/1957
SID.20020209
Paul Jackson in his history of Met broadcasts only deals with 1953 and 1961 in his volume that covers post 1950 Milanov. Rankin, Warren and Siepi are all among the very best exponents of their roles, but I’ve never gotten Poggi’s message. So it’s all about Milanov, and generally always want her earlier (like 1939) rather than later. Milanov was definitely variable in the 50s for her Giocondas. She has 2 more going as last as 1961. Rankin, Warren and Siepi are fine support, and it all depends what kind of a day ZM is having. Her first (not yet broadcast by Sirius) is her best, though the 1946 is also very good (Tucker’s debut year, and he is leagues ahead of Poggi).
LA GIOCONDA:Ponchielli
Cleva; Milanov, Poggi, Warren, Rankin, Siepi
Original Air Date: 04/20/1957
SID.20020425
Paul Jackson in his history of Met broadcasts only deals with 1953 and 1961 in his volume that covers post 1950 Milanov. Rankin, Warren and Siepi are all among the very best exponents of their roles, but I’ve never gotten Poggi’s message. So it’s all about Milanov, and generally always want her earlier (like 1939) rather than later. Milanov was definitely variable in the 50s for her Giocondas. She has 2 more going as last as 1961. Rankin, Warren and Siepi are fine support, and it all depends what kind of a day ZM is having. Her first (not yet broadcast by Sirius) is her best, though the 1946 is also very good (Tucker’s debut year, and he is leagues ahead of Poggi).
LA GIOCONDA:Ponchielli
Cleva; Milanov, Poggi, Warren, Rankin, Siepi
Original Air Date: 04/20/1957
SID.20020642
Paul Jackson in his history of Met broadcasts only deals with 1953 and 1961 in his volume that covers post 1950 Milanov. Rankin, Warren and Siepi are all among the very best exponents of their roles, but I’ve never gotten Poggi’s message. So it’s all about Milanov, and generally always want her earlier (like 1939) rather than later. Milanov was definitely variable in the 50s for her Giocondas. She has 2 more going as last as 1961. Rankin, Warren and Siepi are fine support, and it all depends what kind of a day ZM is having. Her first (not yet broadcast by Sirius) is her best, though the 1946 is also very good (Tucker’s debut year, and he is leagues ahead of Poggi).
LA GIOCONDA:Ponchielli
Cleva; Milanov, Poggi, Warren, Rankin, Siepi
Original Air Date: 04/20/1957
SID.20020745
Paul Jackson in his history of Met broadcasts only deals with 1953 and 1961 in his volume that covers post 1950 Milanov. Rankin, Warren and Siepi are all among the very best exponents of their roles, but I’ve never gotten Poggi’s message. So it’s all about Milanov, and generally always want her earlier (like 1939) rather than later. Milanov was definitely variable in the 50s for her Giocondas. She has 2 more going as last as 1961. Rankin, Warren and Siepi are fine support, and it all depends what kind of a day ZM is having. Her first (not yet broadcast by Sirius) is her best, though the 1946 is also very good (Tucker’s debut year, and he is leagues ahead of Poggi).
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).
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).
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090214
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090531
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090747
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.