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.
LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450103
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.
LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450422
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.
LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450639
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.
ANDREA CHÉNIER:Giordano
Rudel; Martinucci, Millo, Milnes, Kesling, Castle, Johnson
Original Air Date: 12/22/1990
MOD Audio
SID.20120105
This performance marks the 25th anniversary of Milnes’ Met debut, and he goes on to 1997. Millo and Martinucci are authentic Italianate performances with voices well suited to the roles, This is actually some of the best casting of the last 25 years for this opera.
MADAMA BUTTERFLY:Puccini
Rudel; Crider, Larin, White, Josephson, Fitch
Original Air Date: 02/26/2000
SID.20120315
I saw Crider’s Butterfly, and she didn’t make it for me. Arroyo, who was not a great Butterfly, sang it very well. Crider is several vocal grades below. The Met has had many wonderful Butterflys, but this is not among them, and to leave Stella, Tucci (with Bergonzi, Lorengar and Gorchakova (don’t laugh, when she first came I was overwhelmed by her Butterfly, and Gatti conducted slowly, but thrillingly). Better to re-run the excellent Soviero Butterfly– she has two broadcasts, the 1994 has been on Sirius, but the 1996 has not. Both are with Leech as is the Gorchakova. There are other forgettable Butterflys that follow Crider, but there are fine Butterflys, and I’ve listed five.
ANDREA CHÉNIER:Giordano
Rudel; Martinucci, Millo, Milnes, Kesling, Castle, Johnson
Original Air Date: 12/22/1990
MOD Audio
SID.20120321
This performance marks the 25th anniversary of Milnes’ Met debut, and he goes on to 1997. Millo and Martinucci are authentic Italianate performances with voices well suited to the roles, This is actually some of the best casting of the last 25 years for this opera.
MADAMA BUTTERFLY:Puccini
Rudel; Crider, Larin, White, Josephson, Fitch
Original Air Date: 02/26/2000
SID.20120531
I saw Crider’s Butterfly, and she didn’t make it for me. Arroyo, who was not a great Butterfly, sang it very well. Crider is several vocal grades below. The Met has had many wonderful Butterflys, but this is not among them, and to leave Stella, Tucci (with Bergonzi, Lorengar and Gorchakova (don’t laugh, when she first came I was overwhelmed by her Butterfly, and Gatti conducted slowly, but thrillingly). Better to re-run the excellent Soviero Butterfly– she has two broadcasts, the 1994 has been on Sirius, but the 1996 has not. Both are with Leech as is the Gorchakova. There are other forgettable Butterflys that follow Crider, but there are fine Butterflys, and I’ve listed five.
ANDREA CHÉNIER:Giordano
Rudel; Martinucci, Millo, Milnes, Kesling, Castle, Johnson
Original Air Date: 12/22/1990
MOD Audio
SID.20120638
This performance marks the 25th anniversary of Milnes’ Met debut, and he goes on to 1997. Millo and Martinucci are authentic Italianate performances with voices well suited to the roles, This is actually some of the best casting of the last 25 years for this opera.
MADAMA BUTTERFLY:Puccini
Rudel; Crider, Larin, White, Josephson, Fitch
Original Air Date: 02/26/2000
SID.20120747
I saw Crider’s Butterfly, and she didn’t make it for me. Arroyo, who was not a great Butterfly, sang it very well. Crider is several vocal grades below. The Met has had many wonderful Butterflys, but this is not among them, and to leave Stella, Tucci (with Bergonzi, Lorengar and Gorchakova (don’t laugh, when she first came I was overwhelmed by her Butterfly, and Gatti conducted slowly, but thrillingly). Better to re-run the excellent Soviero Butterfly– she has two broadcasts, the 1994 has been on Sirius, but the 1996 has not. Both are with Leech as is the Gorchakova. There are other forgettable Butterflys that follow Crider, but there are fine Butterflys, and I’ve listed five.