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.
Original Air Date: 03/09/1974
Levine; Caballé, Gedda, Milnes, Díaz
MOD Audio SID.19340642
This is a performance where the whole is greater than the sum of its parts. If Caballe does not have every note in place, she is still very near the top of her considerable form, and the ensemble reflects the new production intensity and first appearance of a major Verdi opera in the Met repertory. Gedda has the most performances of Arrigo, the challenging tenor role. Tucker was scheduled for a run (including broadcast) the year he died, but none of the hearty tenors of the past had the right timing– no Corelli, Bergonzi, and only five for Domingo, and he was gone. This performance is available in Met Opera on Demand (MOoD) and is a strong performance.
I VESPRI SICILIANI:Verdi
Chaslin; Radvanovsky, Casanova, Nucci, Ramey
Original Air Date: 12/11/2004
MOD Audio
SID.19450102
Elena was a major breakout role for Radvanovsky, and she was the deserved star of this revival. Nucci, who has appeared irregularly but continuously since his debut in 1980 last appeared at the Met in this 2004 broadcast where he is in fine voice as he was on the Nabucco broadcast six months earlier (prior season). His current engagements show him as busy as any Verdi baritone before the public with an appearance in January 2016 at La Scala as Rigoletto with Nadine Sierra, where they encored the Si, vendetta duet (!!!!). Casanova has good style in arguably Verdi’s most challenging tenor part. This revival catches Ramey after the wobble had started to set in (I date at around 2002). He’s still very commanding, but it’s just a bit too late to be top quality. Procida is one of the greatest of Verdi bass roles right up there with Fiesco, if not quite at the level of Filippo II. Chaslin conducts a well prepared performance, and so nice to have this performance in the Sirius rotation. With Radvanovsky’s new status, this performance should be added to MOoD. This is true two years ago, and is still the case.
I VESPRI SICILIANI:Verdi
Chaslin; Radvanovsky, Casanova, Nucci, Ramey
Original Air Date: 12/11/2004
MOD Audio
SID.19450425
Elena was a major breakout role for Radvanovsky, and she was the deserved star of this revival. Nucci, who has appeared irregularly but continuously since his debut in 1980 last appeared at the Met in this 2004 broadcast where he is in fine voice as he was on the Nabucco broadcast six months earlier (prior season). His current engagements show him as busy as any Verdi baritone before the public with an appearance in January 2016 at La Scala as Rigoletto with Nadine Sierra, where they encored the Si, vendetta duet (!!!!). Casanova has good style in arguably Verdi’s most challenging tenor part. This revival catches Ramey after the wobble had started to set in (I date at around 2002). He’s still very commanding, but it’s just a bit too late to be top quality. Procida is one of the greatest of Verdi bass roles right up there with Fiesco, if not quite at the level of Filippo II. Chaslin conducts a well prepared performance, and so nice to have this performance in the Sirius rotation. With Radvanovsky’s new status, this performance should be added to MOoD. This is true two years ago, and is still the case.
I VESPRI SICILIANI:Verdi
Chaslin; Radvanovsky, Casanova, Nucci, Ramey
Original Air Date: 12/11/2004
MOD Audio
SID.19450748
Elena was a major breakout role for Radvanovsky, and she was the deserved star of this revival. Nucci, who has appeared irregularly but continuously since his debut in 1980 last appeared at the Met in this 2004 broadcast where he is in fine voice as he was on the Nabucco broadcast six months earlier (prior season). His current engagements show him as busy as any Verdi baritone before the public with an appearance in January 2016 at La Scala as Rigoletto with Nadine Sierra, where they encored the Si, vendetta duet (!!!!). Casanova has good style in arguably Verdi’s most challenging tenor part. This revival catches Ramey after the wobble had started to set in (I date at around 2002). He’s still very commanding, but it’s just a bit too late to be top quality. Procida is one of the greatest of Verdi bass roles right up there with Fiesco, if not quite at the level of Filippo II. Chaslin conducts a well prepared performance, and so nice to have this performance in the Sirius rotation. With Radvanovsky’s new status, this performance should be added to MOoD. This is true two years ago, and is still the case.
I VESPRI SICILIANI:Verdi
Levine; Scotto, Ochman, Elvira, Raimondi
Original Air Date: 03/20/1982
MOD Audio
SID.20030208
Scotto could be an interesting singer in this music, but not by 1982–simply too much Lady Macbeth and Gioconda, among other things. I didn’t see her in 1974 which many people still rave about. 1974’s Arrigo was Domingo who had opened the season with Deutekom. Domingo never does the part after that 1974 run (he’s not in the spring 1975 broadcast)– it is among Verdi’s most challenging tenor assignments. Ochman is best described as earnest. Pablo Elvira was too little heard at the Met, and died prematurely. The broadcast mikes probably give him an extra volume boost, but he has nice Verdian style. Raimondi is never a favorite of mine, but Procida is one of the great Verdian bass roles– listen to Christoff with Callas (not from the Met). Siepi never did Procida at the Met and his omission from the Met premiere was part of his departure from the Met in April 1973.
I VESPRI SICILIANI:Verdi
Levine; Scotto, Ochman, Elvira, Raimondi
Original Air Date: 03/20/1982
MOD Audio
SID.20030424
Scotto could be an interesting singer in this music, but not by 1982–simply too much Lady Macbeth and Gioconda, among other things. I didn’t see her in 1974 which many people still rave about. 1974’s Arrigo was Domingo who had opened the season with Deutekom. Domingo never does the part after that 1974 run (he’s not in the spring 1975 broadcast)– it is among Verdi’s most challenging tenor assignments. Ochman is best described as earnest. Pablo Elvira was too little heard at the Met, and died prematurely. The broadcast mikes probably give him an extra volume boost, but he has nice Verdian style. Raimondi is never a favorite of mine, but Procida is one of the great Verdian bass roles– listen to Christoff with Callas (not from the Met). Siepi never did Procida at the Met and his omission from the Met premiere was part of his departure from the Met in April 1973.
I VESPRI SICILIANI:Verdi
Levine; Scotto, Ochman, Elvira, Raimondi
Original Air Date: 03/20/1982
MOD Audio
SID.20030746
Scotto could be an interesting singer in this music, but not by 1982–simply too much Lady Macbeth and Gioconda, among other things. I didn’t see her in 1974 which many people still rave about. 1974’s Arrigo was Domingo who had opened the season with Deutekom. Domingo never does the part after that 1974 run (he’s not in the spring 1975 broadcast)– it is among Verdi’s most challenging tenor assignments. Ochman is best described as earnest. Pablo Elvira was too little heard at the Met, and died prematurely. The broadcast mikes probably give him an extra volume boost, but he has nice Verdian style. Raimondi is never a favorite of mine, but Procida is one of the great Verdian bass roles– listen to Christoff with Callas (not from the Met). Siepi never did Procida at the Met and his omission from the Met premiere was part of his departure from the Met in April 1973.
Levine; Caballé, Gedda, Milnes, Díaz
Original Air Date: 03/09/1974
MOD Audio
SID.20130214
RWW: This is a performance where the whole is greater than the sum of its parts. If Caballe does not have every note in place, she is still very near the top of her considerable form, and the ensemble reflects the new production intensity and first appearance of a major Verdi opera in the Met repertory. Gedda has the most performances of Arrigo, the challenging tenor role. Tucker was scheduled for a run (including broadcast) the year he died, but none of the hearty tenors of the past had the right timing– no Corelli, Bergonzi, and only five for Domingo, and he was gone. This performance is available in Met Opera on Demand (MOoD) and is a strong performance.
 the year he died, but none of the hearty tenors of the past had the right timing– no Corelli, Bergonzi, and only five for Domingo, and he was gone. This performance is available in Met Opera on Demand (MOoD) and is a strong performance.</p> </div> <div class=)
 the year he died, but none of the hearty tenors of the past had the right timing– no Corelli, Bergonzi, and only five for Domingo, and he was gone. This performance is available in Met Opera on Demand (MOoD) and is a strong performance.</p> </div> <div class=)