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.
TOSCA:Puccini
Original Air Date: 03/20/1999
Santi; Vaness, Pavarotti, Morris
MOD Audio SID.19340531
This is Pavarotti’s fifth and final Cavaradossi broadcast. I always find his voice a tad light for the role, but no one exceeds him in his honeyed delivery of the text. Vaness is a low wattage Tosca. Available on MOoD there is a 1995 performance of the Pav with Holleque and Pons. Best of all, at least for him is the 1978 telecast (on MOoD) and DVD with Verrett and MacNeil under Conlon.
I PURITANI:Bellini
Original Air Date: 03/13/1976
Bonynge; Sutherland, Pavarotti, Milnes, Morris
MOD Audio SID.19340636
Bing delivered a lovely production, and the four principals all were well suited to their roles. This was a big break-out part for Morris and the Suoni la tromba duet with Milnes almost stole the show from Pavarotti and Sutherland. Sutherland is 50 for this performance, and amazingly is back ten years later for another Puritani broadcast. This 1976 is the preferred broadcast and deservingly is on Met Player. It’s just a shame it wasn’t videod as well (the first video of the modern series comes a year later). It is a fitting document to one of the strongest Puritani quartets ever. There is no arguing that Met casting was top tier, and this certainly lifted Morris up from being promising to being major.
ERNANI:Verdi
Original Air Date: 12/17/1983
Levine; Pavarotti, Mitchell, Milnes, Raimondi
MOD Audio SID.19350103
This is the audio that goes with the video available on DVD. I love Ernani, and Pavarotti and Mitchell are quite good. Milnes and Raimondi are not my usual choices in this music; I prefer by a lot MacNeil and Siepi. Levine is lively, and a week with Ernani always makes me feel better. I think Pavarotti may only have one other run in this role (Verona?)but unusually Domingo’s Ernani total at the Met is lower — one.
ERNANI:Verdi
Original Air Date: 12/17/1983
Levine; Pavarotti, Mitchell, Milnes, Raimondi
MOD Audio SID.19350319
This is the audio that goes with the video available on DVD. I love Ernani, and Pavarotti and Mitchell are quite good. Milnes and Raimondi are not my usual choices in this music; I prefer by a lot MacNeil and Siepi. Levine is lively, and a week with Ernani always makes me feel better. I think Pavarotti may only have one other run in this role (Verona?)but unusually Domingo’s Ernani total at the Met is lower — one.
ERNANI:Verdi
Original Air Date: 12/17/1983
Levine; Pavarotti, Mitchell, Milnes, Raimondi
MOD Audio SID.19350743
This is the audio that goes with the video available on DVD. I love Ernani, and Pavarotti and Mitchell are quite good. Milnes and Raimondi are not my usual choices in this music; I prefer by a lot MacNeil and Siepi. Levine is lively, and a week with Ernani always makes me feel better. I think Pavarotti may only have one other run in this role (Verona?)but unusually Domingo’s Ernani total at the Met is lower — one.
I LOMBARDI:Verdi
Original Air Date: 01/15/1994
Levine; Flanigan, Pavarotti, Beccaria, Plishka
MOD Audio SID.19370208
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.
LA FILLE DU RÉGIMENT:Donizetti
Original Air Date: 01/06/1973
Bonynge; Sutherland, Pavarotti, Resnik, Corena
MOD Audio SID.19370315
Pavarotti may be a bit tight on the high Cs, but his voice is still remarkable, and this is the only broadcast with the Met premiere roster. Resnik and Corena are preferable to their competition. Sutherland is particularly treasurable. This performance is also available on MOoD *** From 1954 until 1976 Fernando Corena was the only Dr. Bartolo to appear on the Met airwaves. Of all Corena’s distinctive characterizations, none rank higher than Bartolo. It would be worthwhile for the Met to unearth its experimental taping (with NHK of Japan)from November 1968 so people could get a taste of his visuals as well. The byplay of Corena with Horne, as well as familiar bass clef tandem, Tozzi are a special delight. Cesare Siepi made his only Met appearances with Levine the following week ending his Met career succeeding Tozzi. *** Pavarotti appears in a broadcast after his initial success with Sutherland. The Cs are already a bit chancy, but this is still a lot of thoroughbreds having a great time. It is also available in MOoD. *** The Met got a little late to Pavarotti (several years after Covent Garden) in Fille and the C’s are more than a little nervous. Still, this is a fun outing if not as well turned out as the studio recording. *** This is from the second season of FIlle, and Pavarotti’s only broadcast of Tonio. Lots of high spirits.
I LOMBARDI:Verdi
Original Air Date: 01/15/1994
Levine; Flanigan, Pavarotti, Beccaria, Plishka
MOD Audio SID.19370424
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.
Donizetti
Original Air Date: 01/06/1973
Bonynge; Sutherland, Pavarotti, Resnik, Corena
MOD Audio SID.19370531
Pavarotti may be a bit tight on the high Cs, but his voice is still remarkable, and this is the only broadcast with the Met premiere roster. Resnik and Corena are preferable to their competition. Sutherland is particularly treasurable. This performance is also available on MOoD From 1954 until 1976 Fernando Corena was the only Dr. Bartolo to appear on the Met airwaves. Of all Corena’s distinctive characterizations, none rank higher than Bartolo. It would be worthwhile for the Met to unearth its experimental taping (with NHK of Japan)from November 1968 so people could get a taste of his visuals as well. The byplay of Corena with Horne, as well as familiar bass clef tandem, Tozzi are a special delight. Cesare Siepi made his only Met appearances with Levine the following week ending his Met career succeeding Tozzi. Pavarotti appears in a broadcast after his initial success with Sutherland. The Cs are already a bit chancy, but this is still a lot of thoroughbreds having a great time. It is also available in MOoD. The Met got a little late to Pavarotti (several years after Covent Garden) in Fille and the C’s are more than a little nervous. Still, this is a fun outing if not as well turned out as the studio recording.
L’ELISIR D’AMORE:Donizetti
Benini; Pavarotti, Swenson, Plishka, de Candia
Original Air Date: 03/14/1998
SID.19400212
Swenson is a fruity Adina, but this is the last of Pavarotti’s Nemorino broadcasts. The part spans 24 years at the Met. Generally prefer earlier with him. There are two earlier telecasts and almost all of his Nemorinos (not this one) are on MOoD.
L’ELISIR D’AMORE:Donizetti
Benini; Pavarotti, Swenson, Plishka, de Candia
Original Air Date: 03/14/1998
SID.19400530
Swenson is a fruity Adina, but this is the last of Pavarotti’s Nemorino broadcasts. The part spans 24 years at the Met. Generally prefer earlier with him. There are two earlier telecasts and almost all of his Nemorinos (not this one) are on MOoD.
L’ELISIR D’AMORE:Donizetti
Benini; Pavarotti, Swenson, Plishka, de Candia
Original Air Date: 03/14/1998
SID.19400743
Swenson is a fruity Adina, but this is the last of Pavarotti’s Nemorino broadcasts. The part spans 24 years at the Met. Generally prefer earlier with him. There are two earlier telecasts and almost all of his Nemorinos (not this one) are on MOoD.
LA FAVORITA:Donizetti
López-Cobos; Verrett, Pavarotti, Milnes, Giaiotti
Original Air Date: 03/11/1978
SID.19470208
This is a very fully sung performance. I remember better Leonora de Guzmans from Verrett (Dallas about 1971 and a sizzling concert performance at Carnegie with Kraus some years earlier), but this cast gives all they have. Still, this is a zingy performance and one will not be bored. It’s on Met On Demand as well. This remains the only broadcast of Favorita, and it is a shame that it has now been out of the Met repertory for more than three decades. Zajick for one made a great success with the part in Spain. The opera is more easily cast than Puritani. Milnes is far from my favorite baritone, but this performance has all singers well up to the mark with plenty of energy from all.
LA FAVORITA:Donizetti
López-Cobos; Verrett, Pavarotti, Milnes, Giaiotti
Original Air Date: 03/11/1978
SID.19470425
This is a very fully sung performance. I remember better Leonora de Guzmans from Verrett (Dallas about 1971 and a sizzling concert performance at Carnegie with Kraus some years earlier), but this cast gives all they have. Still, this is a zingy performance and one will not be bored. It’s on Met On Demand as well. This remains the only broadcast of Favorita, and it is a shame that it has now been out of the Met repertory for more than three decades. Zajick for one made a great success with the part in Spain. The opera is more easily cast than Puritani. Milnes is far from my favorite baritone, but this performance has all singers well up to the mark with plenty of energy from all.
LA FAVORITA:Donizetti
López-Cobos; Verrett, Pavarotti, Milnes, Giaiotti
Original Air Date: 03/11/1978
SID.19470637
This is a very fully sung performance. I remember better Leonora de Guzmans from Verrett (Dallas about 1971 and a sizzling concert performance at Carnegie with Kraus some years earlier), but this cast gives all they have. Still, this is a zingy performance and one will not be bored. It’s on Met On Demand as well. This remains the only broadcast of Favorita, and it is a shame that it has now been out of the Met repertory for more than three decades. Zajick for one made a great success with the part in Spain. The opera is more easily cast than Puritani. Milnes is far from my favorite baritone, but this performance has all singers well up to the mark with plenty of energy from all.
Verdi
Levine; Tomowa-Sintow, Pavarotti, Cossotto, Manuguerra, Kavrakos
Original Air Date: 03/29/1986
SID.19520106
This is Pavarotti’s third performance at the Met as Radames and first broadcast, and surprisingly it is NOT on MOoD. Tomowa-Sintow is strong casting for Aida, but it’s getting late for Cossotto whose only 2 broadcast Amnerises from the Met are the Price farewell in 1985 and this performance a few months later. Manuguerra is an Amonasro such as we can only dream about today. Pavarotti has a second broadcast 15 years later with Voigt Borodina, and Delavan. I think this 1986 performance is more deserving of immortalization (but at the minimum should be included). I would also note this is the last broadcast of Robert Nagy asMessenger,though he does another dozen over the coming year. His 172 total is the Met record exceeding by a healthy margin Pietro Audisio at 113 and Giordano Paltrinieri (100) both from early in the century. Met operagoers for almost 4 decades heard (it was one of the more penetrating voices to ever grace the Met stage and who went on to leads such as Emperor in Frau and 3 Otellos on the Met tour in 1972 replacing McCracken.
Verdi
Levine; Tomowa-Sintow, Pavarotti, Cossotto, Manuguerra, Kavrakos
Original Air Date: 03/29/1986
SID.19520317
This is Pavarotti’s third performance at the Met as Radames and first broadcast, and surprisingly it is NOT on MOoD. Tomowa-Sintow is strong casting for Aida, but it’s getting late for Cossotto whose only 2 broadcast Amnerises from the Met are the Price farewell in 1985 and this performance a few months later. Manuguerra is an Amonasro such as we can only dream about today. Pavarotti has a second broadcast 15 years later with Voigt Borodina, and Delavan. I think this 1986 performance is more deserving of immortalization (but at the minimum should be included). I would also note this is the last broadcast of Robert Nagy asMessenger,though he does another dozen over the coming year. His 172 total is the Met record exceeding by a healthy margin Pietro Audisio at 113 and Giordano Paltrinieri (100) both from early in the century. Met operagoers for almost 4 decades heard (it was one of the more penetrating voices to ever grace the Met stage and who went on to leads such as Emperor in Frau and 3 Otellos on the Met tour in 1972 replacing McCracken.
Verdi
Levine; Tomowa-Sintow, Pavarotti, Cossotto, Manuguerra, Kavrakos
Original Air Date: 03/29/1986
SID.19520533
This is Pavarotti’s third performance at the Met as Radames and first broadcast, and surprisingly it is NOT on MOoD. Tomowa-Sintow is strong casting for Aida, but it’s getting late for Cossotto whose only 2 broadcast Amnerises from the Met are the Price farewell in 1985 and this performance a few months later. Manuguerra is an Amonasro such as we can only dream about today. Pavarotti has a second broadcast 15 years later with Voigt Borodina, and Delavan. I think this 1986 performance is more deserving of immortalization (but at the minimum should be included). I would also note this is the last broadcast of Robert Nagy asMessenger,though he does another dozen over the coming year. His 172 total is the Met record exceeding by a healthy margin Pietro Audisio at 113 and Giordano Paltrinieri (100) both from early in the century. Met operagoers for almost 4 decades heard (it was one of the more penetrating voices to ever grace the Met stage and who went on to leads such as Emperor in Frau and 3 Otellos on the Met tour in 1972 replacing McCracken.
LUISA MILLER:Verdi
Santi; Ricciarelli, Pavarotti, Nucci, Plishka, Cheek, Berini
Original Air Date: 01/23/1982
MOD Audio
SID.20020105
Luisa is probably Ricciarelli’s best role, and is well suited to the lyricism as well as technical skill for this part. This performance is also available in MOoD and one I highly recommend, even if Santi is rather lethargic at some critical points. Act 3 of Luisa Miller is among Verdi’s greatest inspirations.
LUISA MILLER:Verdi
Santi; Ricciarelli, Pavarotti, Nucci, Plishka, Cheek, Berini
Original Air Date: 01/23/1982
MOD Audio
SID.20020315
Luisa is probably Ricciarelli’s best role, and is well suited to the lyricism as well as technical skill for this part. This performance is also available in MOoD and one I highly recommend, even if Santi is rather lethargic at some critical points. Act 3 of Luisa Miller is among Verdi’s greatest inspirations.
LUISA MILLER:Verdi
Santi; Ricciarelli, Pavarotti, Nucci, Plishka, Cheek, Berini
Original Air Date: 01/23/1982
MOD Audio
SID.20020423
Luisa is probably Ricciarelli’s best role, and is well suited to the lyricism as well as technical skill for this part. This performance is also available in MOoD and one I highly recommend, even if Santi is rather lethargic at some critical points. Act 3 of Luisa Miller is among Verdi’s greatest inspirations.
LUISA MILLER:Verdi
Santi; Ricciarelli, Pavarotti, Nucci, Plishka, Cheek, Berini
Original Air Date: 01/23/1982
MOD Audio
SID.20020749
Luisa is probably Ricciarelli’s best role, and is well suited to the lyricism as well as technical skill for this part. This performance is also available in MOoD and one I highly recommend, even if Santi is rather lethargic at some critical points. Act 3 of Luisa Miller is among Verdi’s greatest inspirations.
TOSCA:Puccini
Oren; Holleque, Pavarotti, Pons
Original Air Date: 04/01/1995
SID.20060106
If I’m going to see/hear Pavarotti in Cavaradossi, I prefer the Verrett/MacNeil performance of 17 years earlier which is also in MOoD. 7/18/11 – This is 17 years after Pavarotti’s first Cavaradossi broadcast with Verrett, and he would do it again 4 years after this with Carol Vaness. This performance is on Met Player and the the Verrett telecast is also on MetPlayer.
TOSCA:Puccini
Oren; Holleque, Pavarotti, Pons
Original Air Date: 04/01/1995
SID.20060317
If I’m going to see/hear Pavarotti in Cavaradossi, I prefer the Verrett/MacNeil performance of 17 years earlier which is also in MOoD. 7/18/11 – This is 17 years after Pavarotti’s first Cavaradossi broadcast with Verrett, and he would do it again 4 years after this with Carol Vaness. This performance is on Met Player and the the Verrett telecast is also on MetPlayer.
TOSCA:Puccini
Oren; Holleque, Pavarotti, Pons
Original Air Date: 04/01/1995
SID.20060533
If I’m going to see/hear Pavarotti in Cavaradossi, I prefer the Verrett/MacNeil performance of 17 years earlier which is also in MOoD. 7/18/11 – This is 17 years after Pavarotti’s first Cavaradossi broadcast with Verrett, and he would do it again 4 years after this with Carol Vaness. This performance is on Met Player and the the Verrett telecast is also on MetPlayer.
TOSCA:Puccini
Oren; Holleque, Pavarotti, Pons
Original Air Date: 04/01/1995
SID.20070101
If I’m going to see/hear Pavarotti in Cavaradossi, I prefer the Verrett/MacNeil performance of 17 years earlier which is also in MOoD. 7/18/11 – This is 17 years after Pavarotti’s first Cavaradossi broadcast with Verrett, and he would do it again 4 years after this with Carol Vaness. This performance is on Met Player and the the Verrett telecast is also on MetPlayer.
AIDA:Verdi
Levine; Voigt, Pavarotti, Borodina, Delavan, Bezzubenkov
Original Air Date: 01/27/2001
MOD Audio
SID.20080210
This performance commemorates the centenary of Verdi’s death, and except for the plush offered by Borodina, there is not much here. You can start to hear real stylistic limitations in Voigt’s performances (well before the surgery), but it is really quite remarkable that Pavarotti is out there at the age of 66 (!!!) as Radames. The visual was supposedly very compromised, but from the radio was OK, not more, but Giovanni Martinelli (KING of Radames with 123 Met performances from 1915-1943!!!!!! was only 58 at his last Met effort) Give Pavarotti another listen.
AIDA:Verdi
Levine; Voigt, Pavarotti, Borodina, Delavan, Bezzubenkov
Original Air Date: 01/27/2001
MOD Audio
SID.20080426
This performance commemorates the centenary of Verdi’s death, and except for the plush offered by Borodina, there is not much here. You can start to hear real stylistic limitations in Voigt’s performances (well before the surgery), but it is really quite remarkable that Pavarotti is out there at the age of 66 (!!!) as Radames. The visual was supposedly very compromised, but from the radio was OK, not more, but Giovanni Martinelli (KING of Radames with 123 Met performances from 1915-1943!!!!!! was only 58 at his last Met effort) Give Pavarotti another listen.
AIDA:Verdi
Levine; Voigt, Pavarotti, Borodina, Delavan, Bezzubenkov
Original Air Date: 01/27/2001
MOD Audio
SID.20080743
This performance commemorates the centenary of Verdi’s death, and except for the plush offered by Borodina, there is not much here. You can start to hear real stylistic limitations in Voigt’s performances (well before the surgery), but it is really quite remarkable that Pavarotti is out there at the age of 66 (!!!) as Radames. The visual was supposedly very compromised, but from the radio was OK, not more, but Giovanni Martinelli (KING of Radames with 123 Met performances from 1915-1943!!!!!! was only 58 at his last Met effort) Give Pavarotti another listen.
LUISA MILLER:Verdi
Santi; Esperian, Pavarotti, Nucci, Plishka, Koptchak, White
Original Air Date: 03/02/1991
SID.20100214
Luisa Miller has done well on the air, although not entering the broadcast repertory of the Met until 1968. The title role has been taken on the airwaves by Caballe, Maliponte (not yet on Sirius!), Scotto, Ricciarelli, and Millo prior to this broadcast; for the tenor role, Tucker, Domingo, Pavarotti (in 1982 with Ricciarelli) led the way. The 1982 performance is also conducted by Santi and features Nucci and Plishka as well. The 1982 performance is on MOoD and I am listening to Tu puniscimi right now. The question is whether Esperian is to be preferred. For my money what I want to hear is either Caballe or Millo or Maliponte who simply have more of a measure of the music than Ricciarelli who has the right equipment, but not sure if she has the right technique. Esperian is even less gifted singer. Either way, Santi’s conducting is too lax for my taste as it was in the house. Levine is a far better Luisa conductor. For my money Act 3 of Luisa Miller is among the greatest acts in the Verdi canon This is the second of Pavarotti’s two broadcast Rodolfos. His 1982 also with Santi ( NO) and Nucci has Ricciarelli in the title role. It’s her most congenial role for a singer who had a short prime but not a short career. The 1982 version with KR is available on MOoD. It’s a good role for Pavarotti, but better to hear the earlier version; one of my favorite early Verdi works, and the last act is as good as anything he ever wrote. — Better to hear Pavarotti with Ricciarelli nine years earlier, also with Nucci and Santi and that is on Met Player.