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.
CARMEN:Bizet
Original Air Date: 01/16/2010
Nezet-Seguin; Frittoli, Garanca, Alagna, Tahu Rhodes
Live in HDMOD Video SID.19349993
RWW Review: Overall, I give the afternoon an A; not that there weren’t things to NOT like, but that I felt the balance of elements was extremely satisfying, and you understand why Carmen can survive anything from Spike Jones (set in a bubble gum factory decades before regie theatre was thought of) to Carmen Jones to whatever some crazy director somewhere in the EU is cooking up. What a score, even if you’re listening mostly to Choudens and Guiraud recitatives. The melodies, the characters, the everything. Almost every time I listen/watch Carmen at home, I am overwhelmed anew; in the theatre its length (no, not Wagnerian, but it isn’t short and as it used to be with 3 intervals with work the next day etc, etc. often the whole was not the sum of its parts. Today, it emphatically was. I have not yet seen the production in the house, and probably won’t be able to see the original cast when I do.
Now to the particulars. I loved Elina Garanca; her voice to me is both fruity and clear. Her middle and upper voice are technically very satisfying and if there is a little weakness at the bottom in a theare the size of the Met, she has baby blue eyes and a command of the role that clearly put her as one of my very favorite Carmens (never saw Stevens, but Resnik (Dallas, 1963 my first), Bumbry, Verrett, Borodina, De Los Angeles (Newark, and I enjoyed), Crespin, Horne, Baltsa are the ones most worthy of mention. Garanca wowed the Paramus audience besides me as well.
Alagna is such a theatre performer that you go with him even when everything is not perfect. He is a very fine Jose, had to make the high climax of the Flower song pure falsetto to avoid a crack, but overall one of my favorite Joses. That he is arguably the best with the text of any doesn’t hurt, and visually he’s quite a specimen at 47. Carmen has to give him up because he’s immature not because he isn’t the hottest guy in Seville.
Frittoli is a singer I like, having adored her Fiordiligi in the house, many
Desdemonas, and her wrenching Suor Angelica. Her vibrato is always 10% too “loose” to be ideal, but when she needs to get out a big climax, she’s right there, only Freni and Lidia Marimpietri (Dallas, 1963) have made a greater impact.
Teddy Tahu Rhodes was a late (10 am this morning) replacement for Kwiecien who was ill. Though he is often portrayed as a bari hunk, he looked skinny in the costume, and I wasn’t much impressed. The vocal if not stylistic standard is Merrill. The best Escamillos for me (all seen live) Jose van Dam, Sam Ramey, Rene Pape, Norman Treigle (also in that first Carmen). I’ve heard and seen worse Escamillos than Rhodes, MUCH worse.
Conducting. I liked Yannick Nezet-Seguin very much. The musical preparation was outstanding. He started the first act prelude like a house of fire, but as he was accompanying the singers, came into more traditional tempi; he got a nice Gallic tang out of the orchestra. Where the preparation showed was in the many numbers that mix in the quintet of smugglers with chorus and 1 or more of the principals. Elizabeth Caballero as Frasquita sounded VERY good; I want to hear more of her, but the ensemble was really terrific today.
I have to cut this short, but except for the final tableau , i found the production very satisfactory, and easily the best visual Carmen of my experience (i liked John Bury’s sets in the Peter Hall production but not a lot else). I didn’t mind the dancing (might not feel so on repeated viewings) This is the 5th Met production I’ve seen (I alas never saw the Guthrie which showcased Stevens and Tucker (plus on some occasions others, but mostly RS and RT for the whole of the 50s.”
DIALOGUES DES CARMÉLITES:Poulenc
Original Air Date: 05/11/2019
Nézet-Séguin; Leonard, Pieczonka, Morley, Cargill, Mattila, Portillo, Croft
Live in HD SID.19359992
ELEKTRA:Strauss
Nezet-Seguin; Goerke, van den heever, Schuster, Morris, Petrenlo
Original Air Date: 03/18/2018
SID.19400106
Christine Goerke sings her first Elektra at the Met in Patrice Chéreau’s landmark production, a sensation at its Met premiere last spring, which the Wall Street Journal called “revolutionary … a triumph on all fronts.” Yannick Nézet-Séguin conducts Strauss’s shattering score, a tour de force for the singers and the orchestra alike. Opening night (3-1-2018) is dedicated to the memory of Patrice Chéreau.
ELEKTRA:Strauss
Nezet-Seguin; Goerke, van den heever, Schuster, Morris, Petrenlo
Original Air Date: 03/18/2018
SID.19400317
Christine Goerke sings her first Elektra at the Met in Patrice Chéreau’s landmark production, a sensation at its Met premiere last spring, which the Wall Street Journal called “revolutionary … a triumph on all fronts.” Yannick Nézet-Séguin conducts Strauss’s shattering score, a tour de force for the singers and the orchestra alike. Opening night (3-1-2018) is dedicated to the memory of Patrice Chéreau.
TURANDOT:Puccini
Nézet-Séguin; Goerke, Buratto, Aronica, Morris
Original Air Date: 10/03/2019
SID.19400426
Two of opera’s most thrilling dramatic sopranos, Christine Goerke and Nina Stemme, reprise their fierce portrayals of the title princess. Yannick Nézet-Séguin takes the podium to conduct Franco Zeffirelli’s dazzling production of Puccini’s final masterpiece, which also features tenors Yusif Eyvazov and Riccardo Massi as Calàf, sopranos Eleonora Buratto and Hibla Gerzmava as Liù, and bass-baritone James Morris as Timur.
ELEKTRA:Strauss
Nezet-Seguin; Goerke, van den heever, Schuster, Morris, Petrenlo
Original Air Date: 03/18/2018
SID.19400535
Christine Goerke sings her first Elektra at the Met in Patrice Chéreau’s landmark production, a sensation at its Met premiere last spring, which the Wall Street Journal called “revolutionary … a triumph on all fronts.” Yannick Nézet-Séguin conducts Strauss’s shattering score, a tour de force for the singers and the orchestra alike. Opening night (3-1-2018) is dedicated to the memory of Patrice Chéreau.
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TURANDOT:Puccini
Nézet-Séguin; Goerke, Buratto, Aronica, Morris
Original Air Date: 10/09/2019
SID.19410317
NYTIMES (Tommasini): Mr. Nézet-Séguin led an exciting and insightful account of Puccini’s “Turandot,” a revival of Franco Zeffirelli’s glittering, over-the-top and popular 1987 production. The strong cast was headed by the blazing soprano Christine Goerke as Puccini’s icy Princess Turandot, the ardent tenor Yusif Eyvazov as Calaf, and the plush-voiced soprano Eleonora Buratto as Liù. The chorus, during the crowd scenes, sounded superb. What stood out, though, was the textured, tart and lushly beautiful playing Mr. Nézet-Séguin drew from the orchestra. He seemed intent on making a case for Puccini’s final opera, first performed in 1926, nearly two years after the composer’s death, as a musically daring score — as contemporary, in its way, as any other opera of the 1920s.
Berg
Original Air Date: 12/27/2019
Nézet-Séguin; van den Heever, Mumford, Ventris, Siegel, Staples, Mattei, Van Horn
SID.19520000
After wowing audiences with his astounding production of Lulu in 2015, South African artist William Kentridge now focuses his extraordinary visual imagination on Berg’s other operatic masterpiece, set in an apocalyptic pre–World War I environment. Met Music Director Yannick Nézet-Séguin is on the podium for this important event, with baritone Peter Mattei making his highly anticipated role debut as the title character. Soprano Elza van den Heever is Wozzeck’s unfaithful mate, and the commanding cast also includes tenor Christopher Ventris as the Drum-Major, bass-baritone Christian Van Horn as the Doctor, and tenor Gerhard Siegel as the Captain.
NEW YEAR’S EVE GALA: ANNA NETREBKO:Puccini
Nézet-Séguin; Netrebko, Polenzani, Kelsey, Luciano, Van Horn, Woodley, Netrebko, Eyvazov, Nikitin, Carfizzi, Netrebko, Eyvazov
Original Air Date: 12/31/2019
SID.20010213
In an unprecedented program to celebrate the new year, Anna Netrebko pulls out all the Puccini stops, starring as Mimì, Tosca, and Turandot in one gala evening. The star soprano will sing Act I of La Bohème, opposite tenor Matthew Polenzani, and Act I of Tosca and Act II of Turandot, opposite tenor Yusif Eyvazov. Conducted by Met Music Director Yannick Nézet-Séguin and featuring an outstanding cast that also includes baritones Quinn Kelsey and Davide Luciano, and bass-baritones Evgeny Nikitin and Christian Van Horn, this will be an evening not to be missed. Each of the acts will be fully staged and costumed in the respective (and spectacular) Zeffirelli and McVicar productions.
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RUSALKA:Dvorak
Nézet-Séguin; Fleming, Beczala, Magee, Zajick, Relyea
Original Air Date: 02/08/2014
Live in HD
SID.20120102
Read RWW’s Review of the Live in HD broadcast of this cast.
CARMEN:Bizet
Nezet-Seguin; Frittoli, Garanca, Alagna, Tahu Rhodes
Original Air Date: 01/16/2010
Live in HDMOD Video
SID.20120100
Go to metopera.org: click on link there or download app to your mobile device or add to your ROKU or Apple TV or Smart TV
Overall, the afternoon gets an A; not that there werent things to NOT like, but the balance of elements was extremely satisfying, and you understand why Carmen can survive anything from Spike Jones (set in a bubble gum factory decades before regie theatre was thought of) to Carmen Jones to whatever some crazy director somewhere in the EU is cooking up. What a score, even if you’re listening mostly to Choudens and Guiraud recitatives. The melodies, the characters, the everything. Elina Garanca voice’s is both fruity and clear. Her middle and upper voice are technically very satisfying and if there is a little weakness at the bottom in a theare the size of the Met, she has baby blue eyes and a command of the role that clearly put her as a favorite Carmen (Stevens, but Resnik (Dallas, 1963), Bumbry, Verrett, Borodina, De Los Angeles (Newark), Crespin, Horne, Baltsa are the ones most worthy of mention. Alagna is such a theatre performer that you go with him even when everything is not perfect. He is a very fine Jose, had to make the high climax of the Flower song pure falsetto to avoid a crack, but overall one of my favorite Joses. That he is arguably the best with the text of any doesn’t hurt, and visually he’s quite a specimen at 47. Carmen has to give him up because he’s immature not because he isn’t the hottest guy in Seville. Frittoli has many roles her Fiordiligi in the house, many Desdemonas, and her wrenching Suor Angelica. Her vibrato is always 10% too “loose” to be ideal, but when she needs to get out a big climax, she’s right there. only Freni and Lidia Marimpietri (Dallas, 1963) have made a greater impact. Teddy Tahu Rhodes was a late (10 am this morning) replacement for Kwiecien who was ill. Though he is often portrayed as a bari hunk, he looked skinny in the costume, and I wasn’t much impressed. The vocal if not stylistic standard is Merrill. Better Escamillos – Jose van Dam, Sam Ramey, Rene Pape, Norman Treigle (also in that first Carmen). Conducting. Yannick Nezet-Seguin. The musical preparation was outstanding. He started the first act prelude like a house of fire, but as he was accompanying the singers, came into more traditional tempi; he got a nice Gallic tang out of the orchestra. Where the preparation showed was in the many numbers that mix in the quintet of smugglers with chorus and 1 or more of the principals. Elizabeth Caballero as Frasquita sounded VERY good; we should hear more of her, but the ensemble was really terrific today. Except for the final tableau , the production is very satisfactory, and a good visual Carmen.
Massenet
Original Air Date: 03/16/2020
Nézet-Séguin; Fang, DiDonato, Beczala, Dupuis, Opie
SID.20120000
Music Director Yannick Nézet-Séguin conducts Massenet’s tragedy, a perfect vehicle for outstanding tenors, starring Piotr Beczała, who certainly fits the bill. The magnificent mezzo-soprano Joyce DiDonato is Charlotte, the object of Werther’s misguided affections, alongside sopranos Erin Morley and Ying Fang as Sophie and baritone Etienne Dupuis as Albert, in Sir Richard Eyre’s arresting production.
RUSALKA:Dvorak
Nézet-Séguin; Fleming, Beczala, Magee, Zajick, Relyea
Original Air Date: 02/08/2014
Live in HD
SID.20120318
Read RWW’s Review of the Live in HD broadcast of this cast.
?pubId=610394115001&videoId=5980651036001
LA TRAVIATA:Verdi
Nézet-Séguin; Damrau, Flórez, Kelsey
Original Air Date: 12/15/2018
Live in HD
SID.20120400
Yannick Nézet-Séguin conducts Michael Mayer’s richly textured new production, featuring a dazzling 19th-century setting that changes with the seasons. Soprano Diana Damrau plays the tragic heroine, Violetta, and tenor Juan Diego Flórez returns to the Met for the first time since 2015 to sing the role of Alfredo, Violetta’s hapless lover. Baritone Quinn Kelsey is Alfredo’s father, Germont, who destroys their love. Later performances feature Anita Hartig, Stephen Costello, Artur Ruciński, and Plácido Domingo.
REVIEW: The Met Turns the Tragedy of ‘Traviata’ Into Dull Disney Schmaltz By James Jorden • 12/05/18 – Well, you have to give the Met credit for accomplishing a feat no other opera company in the world could—or should. At Tuesday’s gala new production of La Traviata, the company managed to downgrade Verdi’s masterpiece of musical drama to a kitschy Disney musical. The prime culprit in this act of artistic vandalism is director Michael Mayer, who seems to have no handle at all on this classic tale of a courtesan inspired by true love to make the most profound sacrifice. In the great duet in the second act, for example, when the penitent Violetta confronts Germont, the morally outraged father of her lover, the singers circled listlessly around a bed that hogged center stage through all three acts.
Review: ‘La Traviata’ Opens a New Era at the Met Opera By Anthony Tommasini Dec. 5, 2018 ….””To begin his tenure as the company’s music director, Mr. Nézet-Séguin led an uncommonly fine rendition of Verdi’s “La Traviata,” in a new staging by Michael Mayer that stars the soprano Diana Damrau and the tenor Juan Diego Flórez. And in a rare gesture of respect and good will, the Met’s musicians joined Mr. Nézet-Séguin on stage for a bow after the show.
RUSALKA:Dvorak
Nézet-Séguin; Fleming, Beczala, Magee, Zajick, Relyea
Original Air Date: 02/08/2014
Live in HD
SID.20120636
Read RWW’s Review of the Live in HD broadcast of this cast.
RUSALKA:Dvorak
Nézet-Séguin; Fleming, Beczala, Magee, Zajick, Relyea
Original Air Date: 02/08/2014
Live in HD
SID.20120748
Read RWW’s Review of the Live in HD broadcast of this cast.
DIALOGUES DES CARMÉLITES:Poulenc
Nézet-Séguin; Leonard, Pieczonka, Morley, Cargill, Mattila, Portillo, Croft
Original Air Date: 05/11/2019
Live in HDMOD Video
SID.20140107
DON CARLO:Verdi
Nezet-Seguin; Poplavskaya, Smirnova, Alagna, Keenlyside, Furlanetto, Halfvarson
Original Air Date: 12/11/2010
Live in HD
SID.20140430
The Met’s new production is played in five acts with two intermissions, the first between Acts 2 and 3, and the second after Act 3. The version used is Verdi’s final revision from 1886, sung in Italian, including the act that takes place at Fontainebleau (Act 1). It is almost identical to the version used in the Met’s previous production by John Dexter, with the exception of the opening section of the Fontainebleau scene. Instead of the longer scene between Elisabeth and the woodcutters which opened the opera in the Dexter production, the new production uses the abbreviated version with which Verdi replaced the original just before the Paris premiere in 1867.
The music of the Herald is sung by the Count of Lerma.
Don Carlo……………Roberto Alagna
Elizabeth of Valois…..Marina Poplavskaya
Rodrigo……………..Simon Keenlyside
Princess Eboli……….Anna Smirnova
Philip II……………Ferruccio Furlanetto
Grand Inquisitor……..Eric Halfvarson
Priest Inquisitor…….Tommaso Matelli
Celestial Voice………Jennifer Check
Friar……………….Alexei Tanovitski8 *
Tebaldo……………. Layla Claire
Count of Lerma……….Eduardo Valdes
Countess of Aremberg….Anne Dyas
Flemish Deputy……….Donovan Singletary
Flemish Deputy……….Keith Harris
Flemish Deputy……….Christopher Schaldenbrand
Flemish Deputy……….Joshua Benaim
Flemish Deputy……….Tyler Simpson
Flemish Deputy……….Eric Jordan
Conductor……………Yannick Nézet-Séguin
Production…………..Nicholas Hytner
Designer…………….Bob Crowley
Lighting designer…….Mark Henderson
TV Director………….Gary Halvorson
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150103
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150104
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150321
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150322
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150538
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
PARSIFAL:Wagner
Nezet-Seguin; Herlitzius, Vogt, Mattei, Nikitin, Pape
Original Air Date: 02/05/2018
SID.20150640
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner’s transcendental score, in François Girard’s remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016–17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively. Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; Major funding from Rolex; Additional funding from Marina Kellen French, and the Edgar Foster Daniels Foundation; Revival a gift of Marina Kellen French
RUSALKA:Dvorak
Nézet-Séguin; Fleming, Beczala, Magee, Zajick, Relyea
Original Air Date: 02/08/2014
Live in HD
SID.20160107
Read RWW’s Review of the Live in HD broadcast of this cast.
AT HOME GALA:Various
Featured Artists
Ildar Abdrazakov Moscow, Russia
Roberto Alagna and Aleksandra Kurzak Le Raincy, France
Marco Armiliato Lugano, Switzerland
Jamie Barton Atlanta, Georgia
Piotr Beczała Zabnica, Poland
Angel Blue Alpine, New Jersey
Lawrence Brownlee Niceville, Florida
Joseph Calleja Mellieha, Malta
Javier Camarena Zurich, Switzerland
Nicole Car and Etienne Dupuis Paris, France
David Chan Closter, New Jersey
Anthony Roth Costanzo New York, New York
Stephen Costello and Yoon Kwon Costello New York, New York
Diana Damrau and Nicolas Testé Orange, France
Michael Fabiano Bonita Springs, Florida
Renée Fleming Virginia
Elīna Garanča Riga, Latvia
Christine Goerke Teaneck, New Jersey
Gunther Groissböck Lugano, Switzerland
Jonas Kaufmann Munich, Germany
Quinn Kelsey Toronto, Canada
Isabel Leonard New York, New York
Ambrogio Maestri Lugano, Switzerland
Peter Mattei Bromma, Sweden
Erin Morley New Haven, Connecticut
Anna Netrebko and Yusif Eyvazov Vienna, Austria
Lisette Oropesa Baton Rouge, Louisiana
René Pape Dresden, Germany
Ailyn Pérez and Soloman Howard Chicago, Illinois
Matthew Polenzani Pelham, New York
Anita Rachvelishvili Tbilisi, Georgia
Golda Schultz Bavaria, Germany
Nadine Sierra Valencia, Spain
Bryn Terfel and Hannah Stone Wales
Elza van den Heever Montpellier, France
Michael Volle Berlin, Germany
Sonya Yoncheva Geneva, Switzerland
Original Air Date: 04/25/2020
SID.20170646
In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company will present an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world. The event will take place Saturday, April 25, at 1 p.m. EDT, and will be available for free on the Met’s website. General Manager Peter Gelb and Music Director Yannick Nézet-Séguin will host from their homes in New York City and Montreal, respectively. Mr. Nézet-Séguin will also participate in the gala as a pianist, and will be featured as conductor in pre-recorded performances by the Met Orchestra and Chorus, which will be created from individual takes from the homes of each of the musicians in the days leading up to the gala. After the live showing, the gala will be made available for on demand viewing on the Met website until 6:30 p.m. EDT the following day. The At-Home Gala is part of the Met’s urgent “The Voice Must Be Heard” fundraising campaign to support the company and protect its future.”