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.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 12/24/1960
Cleva; Formichini, Söderström, Corena, Guarrera
SID.19360208
This is the premiere year of the new production, where most notably Corena arrived in a balloon, and also ushered in a fine series of productions designed by Robert O’Hearn and directed by Nathaniel Merrill. One might almost call them anti-Regie, but very solid design and production values. Formichini was a replacement for Valletti, but the afternoon is Corena’s, still unsurpassed in this role. Check out the Bergonzi and Kraus afternoons with him as well; both are on Met Player. The key figure in the MET L’Elisirs is the nonpareil Fernando Corena in his first season as Dulcamara. He holds the house record at 53, but I was surprised to see how close Plishka is at 47 Formichini is a substitution for Valletti.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 12/24/1960
Cleva; Formichini, Söderström, Corena, Guarrera
SID.19360424
This is the premiere year of the new production, where most notably Corena arrived in a balloon, and also ushered in a fine series of productions designed by Robert O’Hearn and directed by Nathaniel Merrill. One might almost call them anti-Regie, but very solid design and production values. Formichini was a replacement for Valletti, but the afternoon is Corena’s, still unsurpassed in this role. Check out the Bergonzi and Kraus afternoons with him as well; both are on Met Player. The key figure in the MET L’Elisirs is the nonpareil Fernando Corena in his first season as Dulcamara. He holds the house record at 53, but I was surprised to see how close Plishka is at 47 Formichini is a substitution for Valletti.
L’ELISIR D’AMORE:Donizetti
Original Air Date: 12/24/1960
Cleva; Formichini, Söderström, Corena, Guarrera
SID.19360640
This is the premiere year of the new production, where most notably Corena arrived in a balloon, and also ushered in a fine series of productions designed by Robert O’Hearn and directed by Nathaniel Merrill. One might almost call them anti-Regie, but very solid design and production values. Formichini was a replacement for Valletti, but the afternoon is Corena’s, still unsurpassed in this role. Check out the Bergonzi and Kraus afternoons with him as well; both are on Met Player. The key figure in the MET L’Elisirs is the nonpareil Fernando Corena in his first season as Dulcamara. He holds the house record at 53, but I was surprised to see how close Plishka is at 47 Formichini is a substitution for Valletti.
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.
L’ELISIR D’AMORE:Donizetti
Rudolf; Pavarotti, Blegen, Flagello, Reardon
Original Air Date: 04/06/1974
MOD Audio
SID.19440104
“NY Post S Jenkins: In last night’s “”L’Elisir d’Amore”” the Metropolitan Opera pulled off the equivalent of a grand slam home run: a performance that must have delighted the tired businessman, satisfied the opera buff and absolutely satiated the voice lover. And all this wonder came from the musical and dramatic ability of the two leads: Judith Blegen and Luciano Pavarotti.
Gaetano Donizetti’s “”L’Elisir,”” though one of the most popular of Italian comic operas, does not play itself. To be successful, the principals must constantly work to make the audience see that these are real people caught in a comic situation.
Brilliantly crafted by Felice Romani, the librettist of “”Norma,”” “”L’Elisir’s”” book contains the classic tear through a smile: several moments when all the buffoonery is ripped away and the audience sees that Nemorino really loves Adina, and she returns his love.
Miss Blegen and Mr. Pavarotti never ceased to create their characters. Though they sang superlatively, their greatest triumph lay in their complete believability.
Pavarotti, now tipping the scales at around 300, moves on stage with the lightness of a man a quarter of his size, and his marvelously expressive face constantly emotes. Nemorino’s frustrations, his joy and his ultimate victory passed as a motion picture on the. tenor’s countenance.
And what do you say about Miss Blegen except that she is just about the prettiest girl to appear on the Met stage, ever. She also manages to be a coquette without ever once being overcute or too coy. The face, the figure, the attractiveness, how lucky is opera not to have lost her to Broadway!
Vocally, Pavarotti proved himself again the emperor of lyric tenors. Style, finesse, musical taste and a faultless vocal instrument all coalesced in his Nemorino. Some roles fit even a great voice better than others, and from first to last Nemorino is his property. In “”Una furtiva lagrima”” the sheen of his voice seemed to be encircled in a column of air, and his concluding high C in the “”Venti Scudi”” duet sang with ease.
Miss Blegen, whose tone is bright where a more Italianate soprano might be mellow, sang with such authority and finesse that she silenced any possible caviling. Her “”Prendi per me sei libero”” in the last scene, with its descending two-octave run from a high C, glistened as does dew on summer grass.
Mario Sereni contributed his familiar Belcore, one of the baritone’s best roles at the Met, and Ezio Flagello offered up his Dulcamara. Though he sings more of the role than some others who perform it, he has little humor in his voice or presence. It is a solid performance, but lacks the element that makes the old quack really lovable.
The greatest tributes to the brilliance of Miss Blegen, who learned her role in Italian in about 10 days, and Pavarotti were that they overcame the heavyhanded, rather Germanic but solid performance by Max Rudolf. A distinguished maestro with many great performances at the Met in the early Bing years, Rudolf was never known for his Donizetti.
And in almost every way, he seemed to try to knock the bubbles out of the singer’s champagne. With this cast he couldn’t, and there were no unhappy patrons visible.”
L’ELISIR D’AMORE:Donizetti
Rudolf; Pavarotti, Blegen, Flagello, Reardon
Original Air Date: 04/06/1974
MOD Audio
SID.19440320
“NY Post S Jenkins: In last night’s “”L’Elisir d’Amore”” the Metropolitan Opera pulled off the equivalent of a grand slam home run: a performance that must have delighted the tired businessman, satisfied the opera buff and absolutely satiated the voice lover. And all this wonder came from the musical and dramatic ability of the two leads: Judith Blegen and Luciano Pavarotti.
Gaetano Donizetti’s “”L’Elisir,”” though one of the most popular of Italian comic operas, does not play itself. To be successful, the principals must constantly work to make the audience see that these are real people caught in a comic situation.
Brilliantly crafted by Felice Romani, the librettist of “”Norma,”” “”L’Elisir’s”” book contains the classic tear through a smile: several moments when all the buffoonery is ripped away and the audience sees that Nemorino really loves Adina, and she returns his love.
Miss Blegen and Mr. Pavarotti never ceased to create their characters. Though they sang superlatively, their greatest triumph lay in their complete believability.
Pavarotti, now tipping the scales at around 300, moves on stage with the lightness of a man a quarter of his size, and his marvelously expressive face constantly emotes. Nemorino’s frustrations, his joy and his ultimate victory passed as a motion picture on the. tenor’s countenance.
And what do you say about Miss Blegen except that she is just about the prettiest girl to appear on the Met stage, ever. She also manages to be a coquette without ever once being overcute or too coy. The face, the figure, the attractiveness, how lucky is opera not to have lost her to Broadway!
Vocally, Pavarotti proved himself again the emperor of lyric tenors. Style, finesse, musical taste and a faultless vocal instrument all coalesced in his Nemorino. Some roles fit even a great voice better than others, and from first to last Nemorino is his property. In “”Una furtiva lagrima”” the sheen of his voice seemed to be encircled in a column of air, and his concluding high C in the “”Venti Scudi”” duet sang with ease.
Miss Blegen, whose tone is bright where a more Italianate soprano might be mellow, sang with such authority and finesse that she silenced any possible caviling. Her “”Prendi per me sei libero”” in the last scene, with its descending two-octave run from a high C, glistened as does dew on summer grass.
Mario Sereni contributed his familiar Belcore, one of the baritone’s best roles at the Met, and Ezio Flagello offered up his Dulcamara. Though he sings more of the role than some others who perform it, he has little humor in his voice or presence. It is a solid performance, but lacks the element that makes the old quack really lovable.
The greatest tributes to the brilliance of Miss Blegen, who learned her role in Italian in about 10 days, and Pavarotti were that they overcame the heavyhanded, rather Germanic but solid performance by Max Rudolf. A distinguished maestro with many great performances at the Met in the early Bing years, Rudolf was never known for his Donizetti.
And in almost every way, he seemed to try to knock the bubbles out of the singer’s champagne. With this cast he couldn’t, and there were no unhappy patrons visible.”
L’ELISIR D’AMORE:Donizetti
Rudolf; Pavarotti, Blegen, Flagello, Reardon
Original Air Date: 04/06/1974
MOD Audio
SID.19440530
“NY Post S Jenkins: In last night’s “”L’Elisir d’Amore”” the Metropolitan Opera pulled off the equivalent of a grand slam home run: a performance that must have delighted the tired businessman, satisfied the opera buff and absolutely satiated the voice lover. And all this wonder came from the musical and dramatic ability of the two leads: Judith Blegen and Luciano Pavarotti.
Gaetano Donizetti’s “”L’Elisir,”” though one of the most popular of Italian comic operas, does not play itself. To be successful, the principals must constantly work to make the audience see that these are real people caught in a comic situation.
Brilliantly crafted by Felice Romani, the librettist of “”Norma,”” “”L’Elisir’s”” book contains the classic tear through a smile: several moments when all the buffoonery is ripped away and the audience sees that Nemorino really loves Adina, and she returns his love.
Miss Blegen and Mr. Pavarotti never ceased to create their characters. Though they sang superlatively, their greatest triumph lay in their complete believability.
Pavarotti, now tipping the scales at around 300, moves on stage with the lightness of a man a quarter of his size, and his marvelously expressive face constantly emotes. Nemorino’s frustrations, his joy and his ultimate victory passed as a motion picture on the. tenor’s countenance.
And what do you say about Miss Blegen except that she is just about the prettiest girl to appear on the Met stage, ever. She also manages to be a coquette without ever once being overcute or too coy. The face, the figure, the attractiveness, how lucky is opera not to have lost her to Broadway!
Vocally, Pavarotti proved himself again the emperor of lyric tenors. Style, finesse, musical taste and a faultless vocal instrument all coalesced in his Nemorino. Some roles fit even a great voice better than others, and from first to last Nemorino is his property. In “”Una furtiva lagrima”” the sheen of his voice seemed to be encircled in a column of air, and his concluding high C in the “”Venti Scudi”” duet sang with ease.
Miss Blegen, whose tone is bright where a more Italianate soprano might be mellow, sang with such authority and finesse that she silenced any possible caviling. Her “”Prendi per me sei libero”” in the last scene, with its descending two-octave run from a high C, glistened as does dew on summer grass.
Mario Sereni contributed his familiar Belcore, one of the baritone’s best roles at the Met, and Ezio Flagello offered up his Dulcamara. Though he sings more of the role than some others who perform it, he has little humor in his voice or presence. It is a solid performance, but lacks the element that makes the old quack really lovable.
The greatest tributes to the brilliance of Miss Blegen, who learned her role in Italian in about 10 days, and Pavarotti were that they overcame the heavyhanded, rather Germanic but solid performance by Max Rudolf. A distinguished maestro with many great performances at the Met in the early Bing years, Rudolf was never known for his Donizetti.
And in almost every way, he seemed to try to knock the bubbles out of the singer’s champagne. With this cast he couldn’t, and there were no unhappy patrons visible.”
L’ELISIR D’AMORE:Donizetti
Rudolf; Pavarotti, Blegen, Flagello, Reardon
Original Air Date: 04/06/1974
MOD Audio
SID.19440640
“NY Post S Jenkins: In last night’s “”L’Elisir d’Amore”” the Metropolitan Opera pulled off the equivalent of a grand slam home run: a performance that must have delighted the tired businessman, satisfied the opera buff and absolutely satiated the voice lover. And all this wonder came from the musical and dramatic ability of the two leads: Judith Blegen and Luciano Pavarotti.
Gaetano Donizetti’s “”L’Elisir,”” though one of the most popular of Italian comic operas, does not play itself. To be successful, the principals must constantly work to make the audience see that these are real people caught in a comic situation.
Brilliantly crafted by Felice Romani, the librettist of “”Norma,”” “”L’Elisir’s”” book contains the classic tear through a smile: several moments when all the buffoonery is ripped away and the audience sees that Nemorino really loves Adina, and she returns his love.
Miss Blegen and Mr. Pavarotti never ceased to create their characters. Though they sang superlatively, their greatest triumph lay in their complete believability.
Pavarotti, now tipping the scales at around 300, moves on stage with the lightness of a man a quarter of his size, and his marvelously expressive face constantly emotes. Nemorino’s frustrations, his joy and his ultimate victory passed as a motion picture on the. tenor’s countenance.
And what do you say about Miss Blegen except that she is just about the prettiest girl to appear on the Met stage, ever. She also manages to be a coquette without ever once being overcute or too coy. The face, the figure, the attractiveness, how lucky is opera not to have lost her to Broadway!
Vocally, Pavarotti proved himself again the emperor of lyric tenors. Style, finesse, musical taste and a faultless vocal instrument all coalesced in his Nemorino. Some roles fit even a great voice better than others, and from first to last Nemorino is his property. In “”Una furtiva lagrima”” the sheen of his voice seemed to be encircled in a column of air, and his concluding high C in the “”Venti Scudi”” duet sang with ease.
Miss Blegen, whose tone is bright where a more Italianate soprano might be mellow, sang with such authority and finesse that she silenced any possible caviling. Her “”Prendi per me sei libero”” in the last scene, with its descending two-octave run from a high C, glistened as does dew on summer grass.
Mario Sereni contributed his familiar Belcore, one of the baritone’s best roles at the Met, and Ezio Flagello offered up his Dulcamara. Though he sings more of the role than some others who perform it, he has little humor in his voice or presence. It is a solid performance, but lacks the element that makes the old quack really lovable.
The greatest tributes to the brilliance of Miss Blegen, who learned her role in Italian in about 10 days, and Pavarotti were that they overcame the heavyhanded, rather Germanic but solid performance by Max Rudolf. A distinguished maestro with many great performances at the Met in the early Bing years, Rudolf was never known for his Donizetti.
And in almost every way, he seemed to try to knock the bubbles out of the singer’s champagne. With this cast he couldn’t, and there were no unhappy patrons visible.”
Donizetti
Müller; Olsen, Battle, Dara, Oswald
Original Air Date: 12/05/1992
SID.19480103
The opera is not of such depth to deserve what seems like a a weekly rotation. There were a number of evening performances broadcast live of the Florez Damrau cast. They don’t exactly overplay the Bergonzi or Kraus performances, CB has 2, and AK has 1. But better to give the opera a rest, because we’ll have plenty of L’elisir come September. This is Battle’s last Elisir broadcast, and the supporting cast is not especially distinguished.Dara was always a rather colorless Dulcamara for me, and I want a bit more Italian sunshine than Olsen. Battle has 30 (!!!) Met Adinas, the champion. She is not the first Adina I think of. Both Freni and Scotto are more to my taste for very different reasons. Once again this ordinary L’elisir is trotted out. The opera itself (not just this performance) seems overplayed in rotation. It does feature very good orchestra playing and excellent sound. This performance has had some rest, but there are several other Battle Elisirs with Pavarotti that also appear so it seems to repeat her assumption a bit too frequently.
Donizetti
Müller; Olsen, Battle, Dara, Oswald
Original Air Date: 12/05/1992
SID.19480422
The opera is not of such depth to deserve what seems like a a weekly rotation. There were a number of evening performances broadcast live of the Florez Damrau cast. They don’t exactly overplay the Bergonzi or Kraus performances, CB has 2, and AK has 1. But better to give the opera a rest, because we’ll have plenty of L’elisir come September. This is Battle’s last Elisir broadcast, and the supporting cast is not especially distinguished.Dara was always a rather colorless Dulcamara for me, and I want a bit more Italian sunshine than Olsen. Battle has 30 (!!!) Met Adinas, the champion. She is not the first Adina I think of. Both Freni and Scotto are more to my taste for very different reasons. Once again this ordinary L’elisir is trotted out. The opera itself (not just this performance) seems overplayed in rotation. It does feature very good orchestra playing and excellent sound. This performance has had some rest, but there are several other Battle Elisirs with Pavarotti that also appear so it seems to repeat her assumption a bit too frequently.
Donizetti
Müller; Olsen, Battle, Dara, Oswald
Original Air Date: 12/05/1992
SID.19480639
The opera is not of such depth to deserve what seems like a a weekly rotation. There were a number of evening performances broadcast live of the Florez Damrau cast. They don’t exactly overplay the Bergonzi or Kraus performances, CB has 2, and AK has 1. But better to give the opera a rest, because we’ll have plenty of L’elisir come September. This is Battle’s last Elisir broadcast, and the supporting cast is not especially distinguished.Dara was always a rather colorless Dulcamara for me, and I want a bit more Italian sunshine than Olsen. Battle has 30 (!!!) Met Adinas, the champion. She is not the first Adina I think of. Both Freni and Scotto are more to my taste for very different reasons. Once again this ordinary L’elisir is trotted out. The opera itself (not just this performance) seems overplayed in rotation. It does feature very good orchestra playing and excellent sound. This performance has had some rest, but there are several other Battle Elisirs with Pavarotti that also appear so it seems to repeat her assumption a bit too frequently.
L’ELISIR D’AMORE:Donizetti
Weikert; Cole, Upshaw, Taddei, Schexnayder
Original Air Date: 02/20/1988
SID.20010212
This is Kaufmann’s debut year, and Michaels-Moore is below the standard of Gheorghiu. Kaufmann is still a bit green, but I plan to listen again to see how close he was vocally to his current very high performance standard. My memory in the theatre was AG was still the star; it’s one of her best roles.
L’ELISIR D’AMORE:Donizetti
Weikert; Cole, Upshaw, Taddei, Schexnayder
Original Air Date: 02/20/1988
SID.20010428
This is Kaufmann’s debut year, and Michaels-Moore is below the standard of Gheorghiu. Kaufmann is still a bit green, but I plan to listen again to see how close he was vocally to his current very high performance standard. My memory in the theatre was AG was still the star; it’s one of her best roles.
L’ELISIR D’AMORE:Donizetti
Weikert; Cole, Upshaw, Taddei, Schexnayder
Original Air Date: 02/20/1988
SID.20010532
This is Kaufmann’s debut year, and Michaels-Moore is below the standard of Gheorghiu. Kaufmann is still a bit green, but I plan to listen again to see how close he was vocally to his current very high performance standard. My memory in the theatre was AG was still the star; it’s one of her best roles.
L’ELISIR D’AMORE:Donizetti
Weikert; Cole, Upshaw, Taddei, Schexnayder
Original Air Date: 02/20/1988
SID.20010744
This is Kaufmann’s debut year, and Michaels-Moore is below the standard of Gheorghiu. Kaufmann is still a bit green, but I plan to listen again to see how close he was vocally to his current very high performance standard. My memory in the theatre was AG was still the star; it’s one of her best roles.
This performance is available in MOoD. The previous fall Pavarotti had Levine at the help and Dara as the Dulcamara for the video which is also available in MOoD and commercial DVD.
This performance is available in MOoD. The previous fall Pavarotti had Levine at the help and Dara as the Dulcamara for the video which is also available in MOoD and commercial DVD.
This performance is available in MOoD. The previous fall Pavarotti had Levine at the help and Dara as the Dulcamara for the video which is also available in MOoD and commercial DVD.
L’ELISIR D’AMORE:Donizetti
Panni; Pavarotti, Battle, Plishka, Quilico
Original Air Date: 04/29/1989
MOD Audio
SID.20100317
L’Elisir is arguably the most over broadcast repertory opera on Sirius. The opera is a charming confection with lovely vocal turns for both the soprano and tenor, and meaty traditional roles for the buffo bass and the lyric baritone. For superstars like Pavarotti, Florez, and Netrebko, these parts allow them to slide a little, but just because superstars find L’Elisir handy Met repertory selection in the house and on the radio have become very distorted. To be honest the best way to experience Pavarotti’s Nemorino is to hear the Decca studio version with Sutherland from 1970– JoS never did the part onstage, but the vocal gold of this studio recording is anything but hothouse. Second best way to experience Pavarotti’s Nemorino is his 1978 broadcast with Blegen, Corena, and Sereni. The presence of the two best bass clef singers for this opera and a Pavarotti 11 years younger make for a considerable improvement. It’s on MOoD. Also on MOoD and where you should listen to life beyond Pavarotti are the 1972 with Scotto, Bergonzi pairing with Corena and Sereni: 4 native Italians savoring the style to a fare-thee well. Bergonzi has an earlier broadcast with Peters and Guarrera in for Sereni, and Peters has a broadcast with Kraus with Corena and Sereni. All of these are on MOoD and while they’ve all been on Sirius, they are eschewed mostly in favor of more recent performances with less stylish casts.
L’ELISIR D’AMORE:Donizetti
Panni; Pavarotti, Battle, Plishka, Quilico
Original Air Date: 04/29/1989
MOD Audio
SID.20100534
L’Elisir is arguably the most over broadcast repertory opera on Sirius. The opera is a charming confection with lovely vocal turns for both the soprano and tenor, and meaty traditional roles for the buffo bass and the lyric baritone. For superstars like Pavarotti, Florez, and Netrebko, these parts allow them to slide a little, but just because superstars find L’Elisir handy Met repertory selection in the house and on the radio have become very distorted. To be honest the best way to experience Pavarotti’s Nemorino is to hear the Decca studio version with Sutherland from 1970– JoS never did the part onstage, but the vocal gold of this studio recording is anything but hothouse. Second best way to experience Pavarotti’s Nemorino is his 1978 broadcast with Blegen, Corena, and Sereni. The presence of the two best bass clef singers for this opera and a Pavarotti 11 years younger make for a considerable improvement. It’s on MOoD. Also on MOoD and where you should listen to life beyond Pavarotti are the 1972 with Scotto, Bergonzi pairing with Corena and Sereni: 4 native Italians savoring the style to a fare-thee well. Bergonzi has an earlier broadcast with Peters and Guarrera in for Sereni, and Peters has a broadcast with Kraus with Corena and Sereni. All of these are on MOoD and while they’ve all been on Sirius, they are eschewed mostly in favor of more recent performances with less stylish casts.
L’ELISIR D’AMORE:Donizetti
Panni; Pavarotti, Battle, Plishka, Quilico
Original Air Date: 04/29/1989
MOD Audio
SID.20100744
L’Elisir is arguably the most over broadcast repertory opera on Sirius. The opera is a charming confection with lovely vocal turns for both the soprano and tenor, and meaty traditional roles for the buffo bass and the lyric baritone. For superstars like Pavarotti, Florez, and Netrebko, these parts allow them to slide a little, but just because superstars find L’Elisir handy Met repertory selection in the house and on the radio have become very distorted. To be honest the best way to experience Pavarotti’s Nemorino is to hear the Decca studio version with Sutherland from 1970– JoS never did the part onstage, but the vocal gold of this studio recording is anything but hothouse. Second best way to experience Pavarotti’s Nemorino is his 1978 broadcast with Blegen, Corena, and Sereni. The presence of the two best bass clef singers for this opera and a Pavarotti 11 years younger make for a considerable improvement. It’s on MOoD. Also on MOoD and where you should listen to life beyond Pavarotti are the 1972 with Scotto, Bergonzi pairing with Corena and Sereni: 4 native Italians savoring the style to a fare-thee well. Bergonzi has an earlier broadcast with Peters and Guarrera in for Sereni, and Peters has a broadcast with Kraus with Corena and Sereni. All of these are on MOoD and while they’ve all been on Sirius, they are eschewed mostly in favor of more recent performances with less stylish casts.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140212
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140431
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.
L’ELISIR D’AMORE:Donizetti
Schippers; Bergonzi, Peters, Corena, Guarrera
Original Air Date: 03/05/1966
MOD Audio
SID.20140749
This performance has been issued in Sony’s Historic Met CD series. Also on MOoD is Bergonzi and Corena partnered by Scotto and Sereni who I think are better matches in this opera.One cannot lose with Bergonzi and Corena.