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 FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430209
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430210
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430425
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430426
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430641
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Thielemann; Voigt, Moser, Schnaut, Brendel, Runkel
Original Air Date: 01/05/2002
SID.19430642
This was Thielemann’s high water mark at the Met with a popular production by Herbert Wernicke who died an untimely death not long after this production was premiered in December 2001 (he died in April 2002). Thielemann did the score absolutely uncut for the first time at the Met, and the women on the whole garnered high praise. Schnaut’s voice is not a beautiful one (but Christel Goltz was not exactly Kiri te Kanawa either) but she certainly gets to the heart of the character. I have never been able to tolerate Moser’s voice, and Brendel is caught just a little too late in the day for this. For many of us Barak will always be Walter Berry, but of course those lucky to have seen DFD in Europe it was a fine part for him as well. The main draw here is Thielemann conducting the opera complete, something Bohm never did at the Met, and one of the best outings for Voigt. Still FROSCH has some of the best music Strauss ever wrote, and Thielemann is a master of this score against any competition. Highly recommended.
DIE FRAU OHNE SCHATTEN:Strauss
Perick; Meier, Schunk, Martin, Courtney, Dernesch
Original Air Date: 12/09/1989
MOD Audio
SID.19520209
The big gap is Courtney being a late fill-in for Weikl as Barak. Dernesch finds some tough sledding in a lot of the Nurse’s part. I love the work, and Perick works hard. Though Johanna Meier is no Rysanek or Marton, she still has her moments. Listening to the COMPLETE performance under Jurowski from last season finds the Met and Frau particularly congenial partners. Maybe this is a minor hommage to Janis Martin who recently passed away, and so far as I can tell got no paid obituary from the Met in the NYTimes [rechecked this afternoon and still so]
DIE FRAU OHNE SCHATTEN:Strauss
Perick; Meier, Schunk, Martin, Courtney, Dernesch
Original Air Date: 12/09/1989
MOD Audio
SID.19520425
The big gap is Courtney being a late fill-in for Weikl as Barak. Dernesch finds some tough sledding in a lot of the Nurse’s part. I love the work, and Perick works hard. Though Johanna Meier is no Rysanek or Marton, she still has her moments. Listening to the COMPLETE performance under Jurowski from last season finds the Met and Frau particularly congenial partners. Maybe this is a minor hommage to Janis Martin who passed away, and got no paid obituary from the Met in the NYTimes
DIE FRAU OHNE SCHATTEN:Strauss
Perick; Meier, Schunk, Martin, Courtney, Dernesch
Original Air Date: 12/09/1989
MOD Audio
SID.19520642
The big gap is Courtney being a late fill-in for Weikl as Barak. Dernesch finds some tough sledding in a lot of the Nurse’s part. I love the work, and Perick works hard. Though Johanna Meier is no Rysanek or Marton, she still has her moments. Listening to the COMPLETE performance under Jurowski from last season finds the Met and Frau particularly congenial partners. Maybe this is a minor hommage to Janis Martin who passed away, and got no paid obituary from the Met in the NYTimes [rechecked this afternoon and still so]
DIE FRAU OHNE SCHATTEN:Strauss
Böhm; Rysanek, King, Ludwig, Berry, Dalis
Original Air Date: 12/17/1966
MOD Audio
SID.20080105
This is the Met broadcast premiere of one of Strauss’ greatest works. Hearing the performance almost five decades later it still holds up as one of the great ensemble and individual performance efforts in Met history. All of the singers are excellent, and for radio only, the voice that makes the best effect is Walter Berry. His work may be less well known to newer opera-goers, but he is favorite Barak on disc or in the theatre. FiDi was by all accounts quite memorable in the theatre. This performance is now on the Met Opera on Demand (MOoD) series as well as part of the Met at Lincoln Center 50th anniversary CD box.
DIE FRAU OHNE SCHATTEN:Strauss
Böhm; Rysanek, King, Ludwig, Berry, Dalis
Original Air Date: 12/17/1966
MOD Audio
SID.20080321
This is the Met broadcast premiere of one of Strauss’ greatest works. Hearing the performance almost five decades later it still holds up as one of the great ensemble and individual performance efforts in Met history. All of the singers are excellent, and for radio only, the voice that makes the best effect is Walter Berry. His work may be less well known to newer opera-goers, but he is favorite Barak on disc or in the theatre. FiDi was by all accounts quite memorable in the theatre. This performance is now on the Met Opera on Demand (MOoD) series as well as part of the Met at Lincoln Center 50th anniversary CD box.
DIE FRAU OHNE SCHATTEN:Strauss
Böhm; Rysanek, King, Ludwig, Berry, Dalis
Original Air Date: 12/17/1966
MOD Audio
SID.20080637
This is the Met broadcast premiere of one of Strauss’ greatest works. Hearing the performance almost five decades later it still holds up as one of the great ensemble and individual performance efforts in Met history. All of the singers are excellent, and for radio only, the voice that makes the best effect is Walter Berry. His work may be less well known to newer opera-goers, but he is favorite Barak on disc or in the theatre. FiDi was by all accounts quite memorable in the theatre. This performance is now on the Met Opera on Demand (MOoD) series as well as part of the Met at Lincoln Center 50th anniversary CD box.
DIE FRAU OHNE SCHATTEN:Strauss
Böhm; Rysanek, Nagy, Ludwig, Berry, Dalis
Original Air Date: 01/16/1971
SID.20170209
This is the third of Bohm’s four broadcasts of the legendary 1966 production which premiered in the opening weeks of Lincoln Center. Nagy is the first major change in the ensemble, and had been the Apparition in the premiere — James King was the regular Emperor. Nagy more than holds up his end, and is fully up to the vocal challenges. The ensemble is still a marvel a half century later, even if Bohm managed to excise more pages of the score with each successive revival; not a completist, but absolutely a master Straussian. If one is looking for MOoD coverage of Frau, the only Bohm performance has two major cast changes from the original Frau 1966 “ensemble”, Dunn as Nurse, and Schroder-Feinen as Dyer’s Wife. It would be very nice to have another Bohm performance in MOoD, which covers those interpretations, preferably the first broadcast, which has the fewest cuts.
DIE FRAU OHNE SCHATTEN:Strauss
Böhm; Rysanek, Nagy, Ludwig, Berry, Dalis
Original Air Date: 01/16/1971
SID.20170427
This is the third of Bohm’s four broadcasts of the legendary 1966 production which premiered in the opening weeks of Lincoln Center. Nagy is the first major change in the ensemble, and had been the Apparition in the premiere — James King was the regular Emperor. Nagy more than holds up his end, and is fully up to the vocal challenges. The ensemble is still a marvel a half century later, even if Bohm managed to excise more pages of the score with each successive revival; not a completist, but absolutely a master Straussian. If one is looking for MOoD coverage of Frau, the only Bohm performance has two major cast changes from the original Frau 1966 “ensemble”, Dunn as Nurse, and Schroder-Feinen as Dyer’s Wife. It would be very nice to have another Bohm performance in MOoD, which covers those interpretations, preferably the first broadcast, which has the fewest cuts.