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.
PARSIFAL:Wagner
Original Air Date: 04/17/1982
Levine; Hofmann, Dunn, Stewart, Hines, Meredith
MOD Audio SID.19370209
The main claim to fame is the superb sound of the orchestra. Vocally Levine has better casts, and the failure to bring to Sirius the 1985 broadcast with Vickers, Rysanek, and Moll is very surprising; it has been issued as a Met premium CD. This is the 4th of Levine’s 12 Parsifal broadcasts, and is available like three others in MOoD. Hofmann was certainly effective in the theatre, but I prefer Vickers (esp. the 1985 with Rysanek) or Domingo (with Gwyneth Jones’ farewell from 1995 with PD). Stewart is an excellent Amfortas, but I like a voice a bit smoother than Hines– Siepi or Moll. For Dunn, some of the second act writing is very challenging.
TBA:TBA
Original Air Date: 01/01/9999
TBA
SID.19370210
Various selections between scheduled operas. Siriusxm Radio and web player will show the Composer and Title.
PARSIFAL:Wagner
Original Air Date: 04/17/1982
Levine; Hofmann, Dunn, Stewart, Hines, Meredith
MOD Audio SID.19370425
The main claim to fame is the superb sound of the orchestra. Vocally Levine has better casts, and the failure to bring to Sirius the 1985 broadcast with Vickers, Rysanek, and Moll is very surprising; it has been issued as a Met premium CD. This is the 4th of Levine’s 12 Parsifal broadcasts, and is available like three others in MOoD. Hofmann was certainly effective in the theatre, but I prefer Vickers (esp. the 1985 with Rysanek) or Domingo (with Gwyneth Jones’ farewell from 1995 with PD). Stewart is an excellent Amfortas, but I like a voice a bit smoother than Hines– Siepi or Moll. For Dunn, some of the second act writing is very challenging.
PARSIFAL:Wagner
Original Air Date: 04/17/1982
Levine; Hofmann, Dunn, Stewart, Hines, Meredith
MOD Audio SID.19370426
The main claim to fame is the superb sound of the orchestra. Vocally Levine has better casts, and the failure to bring to Sirius the 1985 broadcast with Vickers, Rysanek, and Moll is very surprising; it has been issued as a Met premium CD. This is the 4th of Levine’s 12 Parsifal broadcasts, and is available like three others in MOoD. Hofmann was certainly effective in the theatre, but I prefer Vickers (esp. the 1985 with Rysanek) or Domingo (with Gwyneth Jones’ farewell from 1995 with PD). Stewart is an excellent Amfortas, but I like a voice a bit smoother than Hines– Siepi or Moll. For Dunn, some of the second act writing is very challenging.
PARSIFAL:Wagner
Original Air Date: 04/17/1982
Levine; Hofmann, Dunn, Stewart, Hines, Meredith
MOD Audio SID.19370642
The main claim to fame is the superb sound of the orchestra. Vocally Levine has better casts, and the failure to bring to Sirius the 1985 broadcast with Vickers, Rysanek, and Moll is very surprising; it has been issued as a Met premium CD. This is the 4th of Levine’s 12 Parsifal broadcasts, and is available like three others in MOoD. Hofmann was certainly effective in the theatre, but I prefer Vickers (esp. the 1985 with Rysanek) or Domingo (with Gwyneth Jones’ farewell from 1995 with PD). Stewart is an excellent Amfortas, but I like a voice a bit smoother than Hines– Siepi or Moll. For Dunn, some of the second act writing is very challenging.
PARSIFAL:Wagner
Original Air Date: 04/17/1982
Levine; Hofmann, Dunn, Stewart, Hines, Meredith
MOD Audio SID.19370642
The main claim to fame is the superb sound of the orchestra. Vocally Levine has better casts, and the failure to bring to Sirius the 1985 broadcast with Vickers, Rysanek, and Moll is very surprising; it has been issued as a Met premium CD. This is the 4th of Levine’s 12 Parsifal broadcasts, and is available like three others in MOoD. Hofmann was certainly effective in the theatre, but I prefer Vickers (esp. the 1985 with Rysanek) or Domingo (with Gwyneth Jones’ farewell from 1995 with PD). Stewart is an excellent Amfortas, but I like a voice a bit smoother than Hines– Siepi or Moll. For Dunn, some of the second act writing is very challenging.
ARABELLA:Strauss
Original Air Date: 03/17/1984
Janowski; Andrade, Nentwig, Battle, Rendall, Dunn, Mazura
SID.19380102
I like Janowski very much as a conductor, but the substitution of Andrade for Te Kanawa who did the rest of the run lowers the voltage considerably, and Nentwig is not a high profile Mandryka for my taste; here was a role George London was absolutely perfect for, and it’s a shame the translation challenges of Sirius seem to keep the Kempe led Met premiere season off the air with Steber and London truly inspired. The problems with translations fall on deaf ears here since the translation was by John Gutman, longtime Met asst. Manager. For real value rebroadcast this less often and get London and Steber on the air– it’s the Met at its best.
ARABELLA:Strauss
Original Air Date: 03/17/1984
Janowski; Andrade, Nentwig, Battle, Rendall, Dunn, Mazura
SID.19380318
I like Janowski very much as a conductor, but the substitution of Andrade for Te Kanawa who did the rest of the run lowers the voltage considerably, and Nentwig is not a high profile Mandryka for my taste; here was a role George London was absolutely perfect for, and it’s a shame the translation challenges of Sirius seem to keep the Kempe led Met premiere season off the air with Steber and London truly inspired. The problems with translations fall on deaf ears here since the translation was by John Gutman, longtime Met asst. Manager. For real value rebroadcast this less often and get London and Steber on the air– it’s the Met at its best.
ARABELLA:Strauss
Original Air Date: 03/17/1984
Janowski; Andrade, Nentwig, Battle, Rendall, Dunn, Mazura
SID.19380535
I like Janowski very much as a conductor, but the substitution of Andrade for Te Kanawa who did the rest of the run lowers the voltage considerably, and Nentwig is not a high profile Mandryka for my taste; here was a role George London was absolutely perfect for, and it’s a shame the translation challenges of Sirius seem to keep the Kempe led Met premiere season off the air with Steber and London truly inspired. The problems with translations fall on deaf ears here since the translation was by John Gutman, longtime Met asst. Manager. For real value rebroadcast this less often and get London and Steber on the air– it’s the Met at its best.
UN BALLO IN MASCHERA:Verdi
Original Air Date: 01/30/1971
Cleva; Domingo, Arroyo, Merrill, Peters, Dunn
SID.19390316
This is a solid Ballo with early Domingo (he only arrived in 1968) and late Merrill (well Merrill had one more broadcast and 5 more seasons actually concluding his Met tenure in Detroit in May 1976. On the broadcast airwaves, Merrill totally dominated with 8 of the 9 broadcasts between 1955 and 1975. Arroyo has several impressive moments in the role, but while the top is very secure, the flow in the lower register is not her natural strength. Still, this is an afternoon with little to wince at from anyone.
UN BALLO IN MASCHERA:Verdi
Cleva; Domingo, Arroyo, Merrill, Peters, Dunn
Original Air Date: 01/30/1971
SID.19390535
This is a solid Ballo with early Domingo (he only arrived in 1968) and late Merrill (well Merrill had one more broadcast and 5 more seasons actually concluding his Met tenure in Detroit in May 1976. On the broadcast airwaves, Merrill totally dominated with 8 of the 9 broadcasts between 1955 and 1975. Arroyo has several impressive moments in the role, but while the top is very secure, the flow in the lower register is not her natural strength. Still, this is an afternoon with little to wince at from anyone.
LOHENGRIN:Wagner
Levine; Kollo, Lorengar, Dunn, McIntyre, Giaiotti
Original Air Date: 12/04/1976
SID.19410210
This is Kollo’s premiere season at the Met, and this new production had premiered a few weeks before the broadcast. A very fine performance all round with two of my favorite singers, Pilar Lorengar and Bonaldo Giaiotti, bringing some real lyricism to the roles. Also available in MOoD. One of Levine’s very best afternoons.
LOHENGRIN:Wagner
Levine; Kollo, Lorengar, Dunn, McIntyre, Giaiotti
Original Air Date: 12/04/1976
SID.19410426
This is Kollo’s premiere season at the Met, and this new production had premiered a few weeks before the broadcast. A very fine performance all round with two of my favorite singers, Pilar Lorengar and Bonaldo Giaiotti, bringing some real lyricism to the roles. Also available in MOoD. One of Levine’s very best afternoons.
LOHENGRIN:Wagner
Levine; Kollo, Lorengar, Dunn, McIntyre, Giaiotti
Original Air Date: 12/04/1976
SID.19410638
This is Kollo’s premiere season at the Met, and this new production had premiered a few weeks before the broadcast. A very fine performance all round with two of my favorite singers, Pilar Lorengar and Bonaldo Giaiotti, bringing some real lyricism to the roles. Also available in MOoD. One of Levine’s very best afternoons.
DIE WALKÜRE:Wagner
Ehrling; Nilsson, McIntyre, Martin, Vickers, Dunn, Rundgren
Original Air Date: 03/01/1975
SID.19490103
I’m never a very big fan of Ehrling’s Ring, and Rundgren is one of the weaker Wagner basses we’ve heard. Nilsson has other performances where she is better caught. I’m always a big fan of Vickers, and as Siegmund he was pretty mighty right to the end (and this end is still a decade away). Janis Martin was on the rocks as Rossweise 10 years earlier under Steinberg (this performance is important for several reasons, not least George London’s only broadcast Wotan with Nilsson, Vickers, Rysanek in top form); Martin is also Sieglinde 2 years later in a most interesting cast (also not yet on Sirius) with Rita Hunter, James King, Norman Bailey, all under Leinsdorf. I remember this broadcast very well and it should be restored to the airwaves.
DIE WALKÜRE:Wagner
Ehrling; Nilsson, McIntyre, Martin, Vickers, Dunn, Rundgren
Original Air Date: 03/01/1975
SID.19490104
I’m never a very big fan of Ehrling’s Ring, and Rundgren is one of the weaker Wagner basses we’ve heard. Nilsson has other performances where she is better caught. I’m always a big fan of Vickers, and as Siegmund he was pretty mighty right to the end (and this end is still a decade away). Janis Martin was on the rocks as Rossweise 10 years earlier under Steinberg (this performance is important for several reasons, not least George London’s only broadcast Wotan with Nilsson, Vickers, Rysanek in top form); Martin is also Sieglinde 2 years later in a most interesting cast (also not yet on Sirius) with Rita Hunter, James King, Norman Bailey, all under Leinsdorf. I remember this broadcast very well and it should be restored to the airwaves.
DIE WALKÜRE:Wagner
Ehrling; Nilsson, McIntyre, Martin, Vickers, Dunn, Rundgren
Original Air Date: 03/01/1975
SID.19490319
I’m never a very big fan of Ehrling’s Ring, and Rundgren is one of the weaker Wagner basses we’ve heard. Nilsson has other performances where she is better caught. I’m always a big fan of Vickers, and as Siegmund he was pretty mighty right to the end (and this end is still a decade away). Janis Martin was on the rocks as Rossweise 10 years earlier under Steinberg (this performance is important for several reasons, not least George London’s only broadcast Wotan with Nilsson, Vickers, Rysanek in top form); Martin is also Sieglinde 2 years later in a most interesting cast (also not yet on Sirius) with Rita Hunter, James King, Norman Bailey, all under Leinsdorf. I remember this broadcast very well and it should be restored to the airwaves.
DIE WALKÜRE:Wagner
Ehrling; Nilsson, McIntyre, Martin, Vickers, Dunn, Rundgren
Original Air Date: 03/01/1975
SID.19490535
I’m never a very big fan of Ehrling’s Ring, and Rundgren is one of the weaker Wagner basses we’ve heard. Nilsson has other performances where she is better caught. I’m always a big fan of Vickers, and as Siegmund he was pretty mighty right to the end (and this end is still a decade away). Janis Martin was “on the rocks” as Rossweise 10 years earlier under Steinberg (this performance is important for several reasons, not least George London’s only broadcast Wotan with Nilsson, Vickers, Rysanek in top form); Martin is also Sieglinde 2 years later in a most interesting cast (also not yet on Sirius) with Rita Hunter, James King, Norman Bailey, all under Leinsdorf. I remember this broadcast very well and it should be restored to the airwaves.
DIE WALKÜRE:Wagner
Ehrling; Nilsson, McIntyre, Martin, Vickers, Dunn, Rundgren
Original Air Date: 03/01/1975
SID.19490636
I’m never a very big fan of Ehrling’s Ring, and Rundgren is one of the weaker Wagner basses we’ve heard. Nilsson has other performances where she is better caught. I’m always a big fan of Vickers, and as Siegmund he was pretty mighty right to the end (and this end is still a decade away). Janis Martin was “on the rocks” as Rossweise 10 years earlier under Steinberg (this performance is important for several reasons, not least George London’s only broadcast Wotan with Nilsson, Vickers, Rysanek in top form); Martin is also Sieglinde 2 years later in a most interesting cast (also not yet on Sirius) with Rita Hunter, James King, Norman Bailey, all under Leinsdorf. I remember this broadcast very well and it should be restored to the airwaves.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030316
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030636
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
UN BALLO IN MASCHERA:Verdi
Molinari, Pradelli, Bergonzi, Price, Merrill, Peters, Dunn
Original Air Date: 02/26/1966
SID.20030748
This is the first of Corelli’s four Don Carlo broadcasts and the 1964 performance which was issued in 2011 on Sony only retains Dalis and Uhde in their roles. Since Curtis-Verna is generally underrepresented, I am happy to have this on, but the missing broadcast which is earnestly called for is Bing’s final broadcast as general manager from 1972 with Siepi and Amara returning in their roles from Bing’s inaugural broadcast 22 years earlier. Curtis-Verna only has one other broadcast, that of Aida in 1957 replacing Tebaldi who had withdrawn the day before due to her mother’s death. Curtis-Verna has a very respectable 97 performances over 9 seasons all in leads, but does not make it past 1966 into the new House. She was interviewed in Opera News before her death in 2009 and finished off her career with a distinguished tenure at University of Washington for more than 3 decades in their voice department.
LA GIOCONDA:Ponchielli
Patanè; Marton, Domingo, MacNeil, Dunn, Furlanetto
Original Air Date: 02/12/1983
SID.20070316
This performance marks Patane’s final Met performance. You can’t accuse the Met of undercasting Gioconda, and Marton puts out all of her considerable resources. Though he only has 6 more seasons (she left in a tiff over the Brunnhilde casting), her broadcasts of both Elsa and esp. Ortrud, Turandot, Fidelio Leonora with Vickers and Tennstedt, and her powerhouse Salome (the antithesis best roles. The remainder of above) are among the most rewarding broadcasts of the 1980s. Furlanetto who was primarily a Mozartean this early in his Met career cast is still going strong, and arguably the most important bass singing the Italian (and lots of others) repertoire today. If you love Gioconda just as I do, this is always a welcome performance.”
LA GIOCONDA:Ponchielli
Patanè; Marton, Domingo, MacNeil, Dunn, Furlanetto
Original Air Date: 02/12/1983
SID.20070529
This performance marks Patane’s final Met performance. You can’t accuse the Met of undercasting Gioconda, and Marton puts out all of her considerable resources. Though he only has 6 more seasons (she left in a tiff over the Brunnhilde casting), her broadcasts of both Elsa and esp. Ortrud, Turandot, Fidelio Leonora with Vickers and Tennstedt, and her powerhouse Salome (the antithesis best roles. The remainder of above) are among the most rewarding broadcasts of the 1980s. Furlanetto who was primarily a Mozartean this early in his Met career cast is still going strong, and arguably the most important bass singing the Italian (and lots of others) repertoire today. If you love Gioconda just as I do, this is always a welcome performance.”
LA GIOCONDA:Ponchielli
Patanè; Marton, Domingo, MacNeil, Dunn, Furlanetto
Original Air Date: 02/12/1983
SID.20070638
This performance marks Patane’s final Met performance. You can’t accuse the Met of undercasting Gioconda, and Marton puts out all of her considerable resources. Though he only has 6 more seasons (she left in a tiff over the Brunnhilde casting), her broadcasts of both Elsa and esp. Ortrud, Turandot, Fidelio Leonora with Vickers and Tennstedt, and her powerhouse Salome (the antithesis best roles. The remainder of above) are among the most rewarding broadcasts of the 1980s. Furlanetto who was primarily a Mozartean this early in his Met career cast is still going strong, and arguably the most important bass singing the Italian (and lots of others) repertoire today. If you love Gioconda just as I do, this is always a welcome performance.”
LA FORZA DEL DESTINO:Verdi
Schippers; Tebaldi, Tucker, Sereni, Hines, Dunn, Baccaloni
Original Air Date: 03/12/1960
MOD Audio
SID.20090105
Tebaldi and Tucker are famous for their roles in FORZA, but except for two performances in 1956, and the FORZA preceding this broadcast which was halted because of the onstage death of Leonard Warren, these are their only appearances together in it. Tebaldi is not at the vocal peak of her 1958 Naples video (with Corelli and Bastianini) or her Florence performances with Mitropoulos and Del Monaco, but there is still much to enjoy. Leonora is one of Verdi’s greatest challenges, and most performers just don’t have the stuff.
LA FORZA DEL DESTINO:Verdi
Schippers; Tebaldi, Tucker, Sereni, Hines, Dunn, Baccaloni
Original Air Date: 03/12/1960
MOD Audio
SID.20090315
Tebaldi and Tucker are famous for their roles in FORZA, but except for two performances in 1956, and the FORZA preceding this broadcast which was halted because of the onstage death of Leonard Warren, these are their only appearances together in it. Tebaldi is not at the vocal peak of her 1958 Naples video (with Corelli and Bastianini) or her Florence performances with Mitropoulos and Del Monaco, but there is still much to enjoy. Leonora is one of Verdi’s greatest challenges, and most performers just don’t have the stuff.
LA FORZA DEL DESTINO:Verdi
Schippers; Tebaldi, Tucker, Sereni, Hines, Dunn, Baccaloni
Original Air Date: 03/12/1960
MOD Audio
SID.20090423
Tebaldi and Tucker are famous for their roles in FORZA, but except for two performances in 1956, and the FORZA preceding this broadcast which was halted because of the onstage death of Leonard Warren, these are their only appearances together in it. Tebaldi is not at the vocal peak of her 1958 Naples video (with Corelli and Bastianini) or her Florence performances with Mitropoulos and Del Monaco, but there is still much to enjoy. Leonora is one of Verdi’s greatest challenges, and most performers just don’t have the stuff.
LA FORZA DEL DESTINO:Verdi
Schippers; Tebaldi, Tucker, Sereni, Hines, Dunn, Baccaloni
Original Air Date: 03/12/1960
MOD Audio
SID.20090749
Tebaldi and Tucker are famous for their roles in FORZA, but except for two performances in 1956, and the FORZA preceding this broadcast which was halted because of the onstage death of Leonard Warren, these are their only appearances together in it. Tebaldi is not at the vocal peak of her 1958 Naples video (with Corelli and Bastianini) or her Florence performances with Mitropoulos and Del Monaco, but there is still much to enjoy. Leonora is one of Verdi’s greatest challenges, and most performers just don’t have the stuff.
ARABELLA:Strauss
Leinsdorf; Te Kanawa, Weikl, Battle, Rendall, Dunn, Gramm
Original Air Date: 03/05/1983
MOD Audio
SID.20110214
This new production was the first time in German at the Met. Te Kanawa sings beautifully but for anyone who has heard the prior broadcasts from Steber and Della Casa, it’s just not in the same league. Battle and Weikl are strong vocal support.