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.
DIE ZAUBERFLÖTE:Mozart
Original Air Date: 01/22/1977
Conlon; Valente, Burrows, Uppman, Shane, Plishka
SID.19340530
This Zauberfloete features old and new performers in a well-balanced performance. The conductor, James Conlon, was in his debut engagement; and the Sarastro, Paul Plishka, was doing his only series in the role (one of his first major roles). The talented Benita Valente was especially noted for her Mozart roles. On the lesser known and underappreciated front, we have a sparkling Rita Shane as the Queen of the Night. Finally, on the veteran front, we have Theodore Uppman, doing the last of his 60 Papagenos at the Met. Maybe most notable for a future Broadway composer Adam Guettel (RRodgers’ grandson) as one of the Genie. All in all, an enjoyable Mozart outing.
FALSTAFF:Verdi
Original Air Date: 02/03/1996
Levine; Plishka, Daniels, Quilico, Horne, Bonney, Groves
MOD Audio SID.19340532
Levine, Plishka, Bonney, and Horne are all in the 1992 revival which is on MOoD, but with Freni for Daniels, and Bruno Pola for Quilico. My experience with almost all of the Falstaff casting in the Levine era is OK, but not really an ensemble. We still keep having the Bernstein performance overlooked (LB’s only other Met broadcast beside Cavalleria) from 1964. The bad luck continues with Rosenstock’s conducting from 1965 and Amaducci’s conducting fom 1967. The Dohnanyi performance from 1972 features Gobbi in one of HIS two Met broadcasts (the other is Otello, no Scarpia on the Met airwaves alas) with Tebaldi, Resnik, Paskalis in sterling support. This should be in MOoD.
FALSTAFF:Verdi
Original Air Date: 02/03/1996
Levine; Plishka, Daniels, Quilico, Horne, Bonney, Groves
MOD Audio SID.19350101
Levine, Plishka, Bonney, and Horne are all in the 1992 revival which is on MOoD, but with Freni for Daniels, and Bruno Pola for Quilico. My experience with almost all of the Falstaff casting in the Levine era is OK, but not really an ensemble. We still keep having the Bernstein performance overlooked (LB’s only other Met broadcast beside Cavalleria) from 1964. The bad luck continues with Rosenstock’s conducting from 1965 and Amaducci’s conducting fom 1967. The Dohnanyi performance from 1972 features Gobbi in one of HIS two Met broadcasts (the other is Otello, no Scarpia on the Met airwaves alas) with Tebaldi, Resnik, Paskalis in sterling support. This should be in MOoD.
ROMÉO ET JULIETTE:Gounod
Original Air Date: 12/06/1986
Domingo; Kraus, Gasdia, Plishka, Harris, Schexnayder
MOD Audio SID.19370104
This broadcast documents Gasdia’s only season at the Met. The run, Kraus’ only times in Romeo at the Met, also featured six performances with Soviero, whom I would have preferred in the broadcast.
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.
ROMÉO ET JULIETTE:Gounod
Original Air Date: 12/06/1986
Domingo; Kraus, Gasdia, Plishka, Harris, Schexnayder
MOD Audio SID.19370320
This broadcast documents Gasdia’s only season at the Met. The run, Kraus’ only times in Romeo at the Met, also featured six performances with Soviero, whom I would have preferred in the broadcast.
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.
ROMÉO ET JULIETTE:Gounod
Original Air Date: 12/06/1986
Domingo; Kraus, Gasdia, Plishka, Harris, Schexnayder
MOD Audio SID.19370530
This broadcast documents Gasdia’s only season at the Met. The run, Kraus’ only times in Romeo at the Met, also featured six performances with Soviero, whom I would have preferred in the broadcast.
ROMÉO ET JULIETTE:Gounod
Original Air Date: 12/06/1986
Domingo; Kraus, Gasdia, Plishka, Harris, Schexnayder
MOD Audio SID.19370749
This broadcast documents Gasdia’s only season at the Met. The run, Kraus’ only times in Romeo at the Met, also featured six performances with Soviero, whom I would have preferred in the broadcast.
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 03/24/1979
Järvi; Mazurok, Kasrashvili, Shicoff, Jones, Plishka
SID.19380208
As much as I enjoy Hvorostovsky’s Onegin, I will never forget Mazurok live. He broadcasts the opera twice in 1979 (but in two separate seasons) and he is great both times. Kasrashvili is very good as is Shicoff. Mazurok’s later performance is Kabaivanska’s Met farewell and with Gedda under Tchakarov. I slightly prefer this one as Shicoff is heard too little on Met broadcasts, and this is one of his best roles. This peformance should be in MOoD. *** I always have time for Mazurok’s Onegin. While he may not have evoked the visualfrissons that Hvorostovsky regularly manages, when it comes to vocalism Mazurok was the Russian Robert Merrill, but with stylistic authenticity for his native repertoire. This performance has a lot of energy to it, and Kasrashvilil and Shicoff give their all. Credit to Jarvi for his leadership. *** This is the first of Mazurok’s 2 Onegin broadcasts (the second is only 9 months later in the next season), but I prefer this one because of Jarvi’s conducting. Mazurok was for me the Russian Merrill (meant as the highest compliment). We saw too little of him because this was not the best time for Soviet-American relations. He is thrilling here.
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380104
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380105
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380320
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380321
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 03/24/1979
Järvi; Mazurok, Kasrashvili, Shicoff, Jones, Plishka
SID.19380424
As much as I enjoy Hvorostovsky’s Onegin, I will never forget Mazurok live. He broadcasts the opera twice in 1979 (but in two separate seasons) and he is great both times. Kasrashvili is very good as is Shicoff. Mazurok’s later performance is Kabaivanska’s Met farewell and with Gedda under Tchakarov. I slightly prefer this one as Shicoff is heard too little on Met broadcasts, and this is one of his best roles. This peformance should be in MOoD. *** I always have time for Mazurok’s Onegin. While he may not have evoked the visualfrissons that Hvorostovsky regularly manages, when it comes to vocalism Mazurok was the Russian Robert Merrill, but with stylistic authenticity for his native repertoire. This performance has a lot of energy to it, and Kasrashvilil and Shicoff give their all. Credit to Jarvi for his leadership. *** This is the first of Mazurok’s 2 Onegin broadcasts (the second is only 9 months later in the next season), but I prefer this one because of Jarvi’s conducting. Mazurok was for me the Russian Merrill (meant as the highest compliment). We saw too little of him because this was not the best time for Soviet-American relations. He is thrilling here.
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380637
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380638
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
EUGENE ONEGIN:Tchaikovsky
Original Air Date: 03/24/1979
Järvi; Mazurok, Kasrashvili, Shicoff, Jones, Plishka
SID.19380639
As much as I enjoy Hvorostovsky’s Onegin, I will never forget Mazurok live. He broadcasts the opera twice in 1979 (but in two separate seasons) and he is great both times. Kasrashvili is very good as is Shicoff. Mazurok’s later performance is Kabaivanska’s Met farewell and with Gedda under Tchakarov. I slightly prefer this one as Shicoff is heard too little on Met broadcasts, and this is one of his best roles. This peformance should be in MOoD. *** I always have time for Mazurok’s Onegin. While he may not have evoked the visualfrissons that Hvorostovsky regularly manages, when it comes to vocalism Mazurok was the Russian Robert Merrill, but with stylistic authenticity for his native repertoire. This performance has a lot of energy to it, and Kasrashvilil and Shicoff give their all. Credit to Jarvi for his leadership. *** This is the first of Mazurok’s 2 Onegin broadcasts (the second is only 9 months later in the next season), but I prefer this one because of Jarvi’s conducting. Mazurok was for me the Russian Merrill (meant as the highest compliment). We saw too little of him because this was not the best time for Soviet-American relations. He is thrilling here.
AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994
SID.19400107
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.
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.
AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994
SID.19400422
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.
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.
AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994
SID.19400745
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410105
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
MACBETH:Verdi
Levine; Milnes, Scotto, Plishka, Jenkins
Original Air Date: 12/18/1982
MOD Audio
SID.19410208
This is the first year of the new production by Peter Hall, which was heavily booed (deservedly– i was there) on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.This is the first year of the new production by Peter Hall, which was heavily booed on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410315
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
MACBETH:Verdi
Levine; Milnes, Scotto, Plishka, Jenkins
Original Air Date: 12/18/1982
MOD Audio
SID.19410425
This is the first year of the new production by Peter Hall, which was heavily booed (deservedly– i was there) on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.This is the first year of the new production by Peter Hall, which was heavily booed on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.
MACBETH:Verdi
Levine; Milnes, Scotto, Plishka, Jenkins
Original Air Date: 12/18/1982
MOD Audio
SID.19410535
This is the first year of the new production by Peter Hall, which was heavily booed (deservedly– i was there) on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.This is the first year of the new production by Peter Hall, which was heavily booed on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410744
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.