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.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350209
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350210
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350425
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350426
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350641
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
Wagner
Original Air Date: 04/17/1993
Levine; Jones, Johns, Salminen, Held, Plette, Troyanos
SID.19350642
This is one of Jones best Met performances, and 15 years after I saw her do it at Bayreuth. She’s in better voice for this than at the Festspielhaus. This is Troyanos’ farewell broadcast and her last run of anything at the Met. Johns is a very decent Siegfried,and Salminen a thrilling Hagen. The Three Norns are Mignon Dunn, Hanna Schwarz, and Susan Neves. That’s a lot of Stimme from all three ladies.
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.
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.
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.
EUGENE ONEGIN:Tchaikovsky
Tchakarov; Mazurok, Kabaivanska, Gedda, Jones, Plishka
Original Air Date: 12/08/1979
SID.20070107
I saw this cast and this performance is Kabaivanska’s Met farewell. Well cast and well conducted, there are two broadcasts of Onegin in 1979 (but different seasons),both with Mazurok and Plishka the only repeats from one to another. To me, this is slightly better. For those who have never encountered Mazurok, I find his voice as velvety as Hvorostovsky, and an upper register that definitely has squillo. Wish the Met would transfer one of these Mazurok Onegins to MOoD. Glad that it at least gets a regular Sirius re-hearing.
EUGENE ONEGIN:Tchaikovsky
Tchakarov; Mazurok, Kabaivanska, Gedda, Jones, Plishka
Original Air Date: 12/08/1979
SID.20070530
I saw this cast and this performance is Kabaivanska’s Met farewell. Well cast and well conducted, there are two broadcasts of Onegin in 1979 (but different seasons),both with Mazurok and Plishka the only repeats from one to another. To me, this is slightly better. For those who have never encountered Mazurok, I find his voice as velvety as Hvorostovsky, and an upper register that definitely has squillo. Wish the Met would transfer one of these Mazurok Onegins to MOoD. Glad that it at least gets a regular Sirius re-hearing.
EUGENE ONEGIN:Tchaikovsky
Tchakarov; Kabaivanska, Bybee, Jones, Godfrey Ben-David, Gedda, Atherton, Mazurok, Bertolino, Dobransky, Plishka
Original Air Date: 12/08/1979
SID.20070745
This performance is Kabaivanska’s Met farewell. Well cast and well conducted, there are two broadcasts of Onegin in 1979 (but different seasons),both with Mazurok and Plishka the only repeats from one to another; This is slightly better. For those who have never encountered Mazurok, his voice is as velvety as Hvorostovsky, and an upper register that definitely has squillo. Wish the Met would transfer one of these Mazurok Onegins to MOoD. Glad that it at least gets a regular Sirius re-hearing.
RIGOLETTO:Verdi
Stivender; MacNeil, Blegen, Alexander, Hines, Jones
Original Air Date: 03/03/1979
SID.20110106
This is MacNeil’s final Met broadcast of the title role– he has the house record at 102 (5 broadcasts); Sirius should roll out MacNeil’s first Rigoletto broadcast from 1960, when he is really in super-baritone form or even 1964 with Bergonzi’s first Duke broadcast. Blegen is tied for fourth after Peters (88!!!!!! one for every piano key), Pons, and Swenson who are tied for second. Blegen’s earlier broadcast is on Met Opera on Demand (MOoD) and she is one of my favorite Gildas. Alexander is a dependable Duke, but he has some stiff competition . He was a fine musician, marvelous colleague, and sustained among the most-wide ranging Met repertoire (and without need of transpositions). A very favored colleague of Sutherland, Caballe, Sills, and Levine.
RIGOLETTO:Verdi
Stivender; MacNeil, Blegen, Alexander, Hines, Jones
Original Air Date: 03/03/1979
SID.20110317
This is MacNeil’s final Met broadcast of the title role– he has the house record at 102 (5 broadcasts); Sirius should roll out MacNeil’s first Rigoletto broadcast from 1960, when he is really in super-baritone form or even 1964 with Bergonzi’s first Duke broadcast. Blegen is tied for fourth after Peters (88!!!!!! one for every piano key), Pons, and Swenson who are tied for second. Blegen’s earlier broadcast is on Met Opera on Demand (MOoD) and she is one of my favorite Gildas. Alexander is a dependable Duke, but he has some stiff competition . He was a fine musician, marvelous colleague, and sustained among the most-wide ranging Met repertoire (and without need of transpositions). A very favored colleague of Sutherland, Caballe, Sills, and Levine.
RIGOLETTO:Verdi
Stivender; MacNeil, Blegen, Alexander, Hines, Jones
Original Air Date: 03/03/1979
SID.20110533
This is MacNeil’s final Met broadcast of the title role– he has the house record at 102 (5 broadcasts); Sirius should roll out MacNeil’s first Rigoletto broadcast from 1960, when he is really in super-baritone form or even 1964 with Bergonzi’s first Duke broadcast. Blegen is tied for fourth after Peters (88!!!!!! one for every piano key), Pons, and Swenson who are tied for second. Blegen’s earlier broadcast is on Met Opera on Demand (MOoD) and she is one of my favorite Gildas. Alexander is a dependable Duke, but he has some stiff competition . He was a fine musician, marvelous colleague, and sustained among the most-wide ranging Met repertoire (and without need of transpositions). A very favored colleague of Sutherland, Caballe, Sills, and Levine.
RIGOLETTO:Verdi
Stivender; MacNeil, Blegen, Alexander, Hines, Jones
Original Air Date: 03/03/1979
SID.20120101
This is MacNeil’s final Met broadcast of the title role– he has the house record at 102 (5 broadcasts); Sirius should roll out MacNeil’s first Rigoletto broadcast from 1960, when he is really in super-baritone form or even 1964 with Bergonzi’s first Duke broadcast. Blegen is tied for fourth after Peters (88!!!!!! one for every piano key), Pons, and Swenson who are tied for second. Blegen’s earlier broadcast is on Met Opera on Demand (MOoD) and she is one of my favorite Gildas. Alexander is a dependable Duke, but he has some stiff competition . He was a fine musician, marvelous colleague, and sustained among the most-wide ranging Met repertoire (and without need of transpositions). A very favored colleague of Sutherland, Caballe, Sills, and Levine.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Giacomini, Nucci, Giaiotti, Jones, Fissore
Original Air Date: 03/24/1984
SID.20170106
This is a 3 performance group intended to capture the Price Leonora on video ; fall performances had featured mostly Bumbry (with a few to Amara) partnering Carreras. This is a solid performance but I prefer Price a decade earlier with Bergonzi in 1972; her supporting cast are full-throated Italians (Paskalis is Greek, but Bergonzi and Siepi are Verdians to their fingertips and that is much the best of the 1970s. Giacomini in this 1984 performance gets some rare visibility, and deservedly so.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Giacomini, Nucci, Giaiotti, Jones, Fissore
Original Air Date: 03/24/1984
SID.20170425
This is a 3 performance group intended to capture the Price Leonora on video ; fall performances had featured mostly Bumbry (with a few to Amara) partnering Carreras. This is a solid performance but I prefer Price a decade earlier with Bergonzi in 1972; her supporting cast are full-throated Italians (Paskalis is Greek, but Bergonzi and Siepi are Verdians to their fingertips and that is much the best of the 1970s. Giacomini in this 1984 performance gets some rare visibility, and deservedly so.
LA FORZA DEL DESTINO:Verdi
Levine; Price, Giacomini, Nucci, Giaiotti, Jones, Fissore
Original Air Date: 03/24/1984
SID.20170756
This is a 3 performance group intended to capture the Price Leonora on video ; fall performances had featured mostly Bumbry (with a few to Amara) partnering Carreras. This is a solid performance but I prefer Price a decade earlier with Bergonzi in 1972; her supporting cast are full-throated Italians (Paskalis is Greek, but Bergonzi and Siepi are Verdians to their fingertips and that is much the best of the 1970s. Giacomini in this 1984 performance gets some rare visibility, and deservedly so.