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.
BILLY BUDD:Britten
Original Air Date: 04/14/1984
Atherton; Duesing, Cassilly, Morris, Glossop, Clark
SID.19390321
The Dexter/Dudley Billy Budd is a Met classic, and Morris is at the top of his considerable form as Claggart in this third broadcast of a production premiered in 1978.
BILLY BUDD:Britten
Original Air Date: 04/14/1984
Atherton; Duesing, Cassilly, Morris, Glossop, Clark
SID.19390530
The Dexter/Dudley Billy Budd is a Met classic, and Morris is at the top of his considerable form as Claggart in this third broadcast of a production premiered in 1978.
DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430102
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.
DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430529
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.
MADAMA BUTTERFLY:Puccini
Patanè; Scotto, Aragall, Love, Edwards, Atherton
Original Air Date: 12/17/1977
SID.20080106
Aragall only has 38 Met performances in his nine season tenure. His two broadcasts are Esclarmonde with Sutherland and this Butterfly with Scotto in close to her very best voice. Few tenor voices had such unforced beauty. His Met farewell comes in Boheme two days after this broadcast Aragall suffered from severe nervousness which could affect his pitch. Luckily his two Met broadcasts capture mostly just the remarkable voice, one much respected by his peers– Carreras, Domingo, and Pavarotti. Patane lamentably died much too young at 54 while conducting at the Bavarian State Opera, Munich. He was an excellent maestro in the Met’s Italian wing, and is the conductor for Pavarotti and Ricciarelli’s Ballo in Maschera telecast/DVD. He also is number four in Gioconda performances at 25 (Cleva at 65 (Milanov and Tebaldi); Serafin at 55, Toscanini at 29 surpass him).
MADAMA BUTTERFLY:Puccini
Patanè; Scotto, Aragall, Love, Edwards, Atherton
Original Air Date: 12/17/1977
SID.20080530
Aragall only has 38 Met performances in his nine season tenure. His two broadcasts are Esclarmonde with Sutherland and this Butterfly with Scotto in close to her very best voice. Few tenor voices had such unforced beauty. His Met farewell comes in Boheme two days after this broadcast Aragall suffered from severe nervousness which could affect his pitch. Luckily his two Met broadcasts capture mostly just the remarkable voice, one much respected by his peers– Carreras, Domingo, and Pavarotti. Patane lamentably died much too young at 54 while conducting at the Bavarian State Opera, Munich. He was an excellent maestro in the Met’s Italian wing, and is the conductor for Pavarotti and Ricciarelli’s Ballo in Maschera telecast/DVD. He also is number four in Gioconda performances at 25 (Cleva at 65 (Milanov and Tebaldi); Serafin at 55, Toscanini at 29 surpass him).
MADAMA BUTTERFLY:Puccini
Patanè; Scotto, Aragall, Love, Edwards, Atherton
Original Air Date: 12/17/1977
SID.20080747
Aragall only has 38 Met performances in his nine season tenure. His two broadcasts are Esclarmonde with Sutherland and this Butterfly with Scotto in close to her very best voice. Few tenor voices had such unforced beauty. His Met farewell comes in Boheme two days after this broadcast Aragall suffered from severe nervousness which could affect his pitch. Luckily his two Met broadcasts capture mostly just the remarkable voice, one much respected by his peers– Carreras, Domingo, and Pavarotti. Patane lamentably died much too young at 54 while conducting at the Bavarian State Opera, Munich. He was an excellent maestro in the Met’s Italian wing, and is the conductor for Pavarotti and Ricciarelli’s Ballo in Maschera telecast/DVD. He also is number four in Gioconda performances at 25 (Cleva at 65 (Milanov and Tebaldi); Serafin at 55, Toscanini at 29 surpass him).
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150208
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150319
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150537
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.
FIDELIO:Beethoven
Haitink; Meier, Sooter, Roar, Macurdy, Blegen, Atherton
Original Air Date: 04/10/1982
SID.20150648
This is Haitink’s only Met season, and Meier is pinch-hitting for Verrett who was sick for two other performances (also sung by Johanna Meier) in the run as well. Hard to believe the original casting for Florestan was Sooter, but in any event he gets a fine review from Harriet Johnson of the NY Post. To my knowledge, Verrett’s 3 performances are her only times in the part.