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.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.19380316
Tebaldi loved the part of Adriana, but this broadcast finds her in rather frayed voice (after more than 30 Giocondas the previous two seasons). Corelli, Dalis, and Colzani are strong support.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.19380532
Tebaldi loved the part of Adriana, but this broadcast finds her in rather frayed voice (after more than 30 Giocondas the previous two seasons). Corelli, Dalis, and Colzani are strong support.
ADRIANA LECOUVREUR:Cilea
Original Air Date: 04/19/1969
Cleva; Tebaldi, Corelli, Dalis, Colzani
SID.19390101
Tebaldi loved the part of Adriana, but this broadcast finds her in rather frayed voice (after more than 30 Giocondas the previous two seasons). Corelli, Dalis, and Colzani are strong support.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020106
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020317
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
TOSCA:Puccini
Adler; Price, Corelli, MacNeil
Original Air Date: 04/07/1962
SID.20020533
One of the great Saturday afternoons. Adler is at best dutiful, and Price is not an ideal Tosca, but she is returning after a vocal rest in full command of her resources. It is her last New York appearance in the role. Cavaradossi was always one of Corelli’s best parts, and MacNeil is in magnificent form. With such vocal riches, it’s a barnburner of an afternoon. The Met has issued this performance as part of Sony’s Historical CD series.
Cilea
Varviso; Tebaldi, Corelli, Cvejic, Colzani
Original Air Date: 02/09/1963
SID.20040211
This performance is not marked in the Met Data Base as having been on Sirius before; Tebaldi and Corelli broadcast the opera 6 years later after the duo had done an almost two year run of Gioconda. That 1969 performance has been on Sirius. Her voice is fresher in this performance, if still not Tebaldi of the pre1960 vintage, and Maurizio is one of Corelli’s best parts. The main claim to fame for Cvejic is that she is the mentor of current star baritone Zeljko Lucic. Colzani is well cast as Michonnet. The opera is not for every taste. The draw here is not in the title role, for Tebaldi was not in good voice for this initial run, and after one more Adriana three days after the broadcast did not appear again for 13 months. Franco Corelli, is at the considerable peak of his form, and makes quite a meal of his many opportunities. Cvejic is better remembered as the teacher of Zelko Lucic than for her limited mezzo. Sirius has also rebroadcast the 1969 revival with Dalis for Cvejic and Tebaldi in much better form than 1963. Corelli is again outstanding and this should be added to MOoD. After a recent listen to the 1969 version, Corelli is considerably off his 1963 performance not to mention the classic Naples performance with Olivero, Simionato and Bastianini.
Cilea
Varviso; Tebaldi, Corelli, Cvejic, Colzani
Original Air Date: 02/09/1963
SID.20040530
This performance is not marked in the Met Data Base as having been on Sirius before; Tebaldi and Corelli broadcast the opera 6 years later after the duo had done an almost two year run of Gioconda. That 1969 performance has been on Sirius. Her voice is fresher in this performance, if still not Tebaldi of the pre1960 vintage, and Maurizio is one of Corelli’s best parts. The main claim to fame for Cvejic is that she is the mentor of current star baritone Zeljko Lucic. Colzani is well cast as Michonnet. The opera is not for every taste. The draw here is not in the title role, for Tebaldi was not in good voice for this initial run, and after one more Adriana three days after the broadcast did not appear again for 13 months. Franco Corelli, is at the considerable peak of his form, and makes quite a meal of his many opportunities. Cvejic is better remembered as the teacher of Zelko Lucic than for her limited mezzo. Sirius has also rebroadcast the 1969 revival with Dalis for Cvejic and Tebaldi in much better form than 1963. Corelli is again outstanding and this should be added to MOoD. After a recent listen to the 1969 version, Corelli is considerably off his 1963 performance not to mention the classic Naples performance with Olivero, Simionato and Bastianini.
Cilea
Varviso; Tebaldi, Corelli, Cvejic, Colzani
Original Air Date: 02/09/1963
SID.20050101
Tebaldi and Corelli broadcast the opera six years later after the duo had done an almost two year run of Gioconda. Her voice is fresher in this performance, if still not Tebaldi of the pre1960 vintage, and Maurizio is one of Corelli’s best parts. The main claim to fame for Cvejic is that she is the mentor of current star baritone Zeljko Lucic. Colzani is well cast as Michonnet. Franco Corelli, is at the considerable peak of his form, and makes quite a meal of his many opportunities. Cvejic is better remembered as the teacher of Zelko Lucic than for her limited mezzo. Sirius has also rebroadcast the 1969 revival with Dalis for Cvejic and Tebaldi in much better form than 1963. Corelli is again outstanding and this should be added to MOoD. After a recent listen to the 1969 version, Corelli is considerably off his 1963 performance not to mention the classic Naples performance with Olivero, Simionato and Bastianini.
TURANDOT:Puccini
Mehta; Nilsson, Freni, Corelli, Giaiotti
Original Air Date: 12/03/1966
MOD Audio
SID.20070102
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
TURANDOT:Puccini
Mehta; Nilsson, Freni, Corelli, Giaiotti
Original Air Date: 12/03/1966
MOD Audio
SID.20070318
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
TURANDOT:Puccini
Mehta; Nilsson, Freni, Corelli, Giaiotti
Original Air Date: 12/03/1966
MOD Audio
SID.20070422
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
TURANDOT:Puccini
Mehta; Nilsson, Freni, Corelli, Giaiotti
Original Air Date: 12/03/1966
MOD Audio
SID.20070534
This performance is Included in the Met’s 50th Anniversary collection. Turandot: The Best To Date at New Met [Unsigned review in the Journal-American of opening night September 26, 1966] The celebrating the opening of the new opera house over, the Metropolitan Opera settled for repertory last night and put on its best show to date. Puccini’s Turandot began the regular subscription season as a five-year old production that readily adjusted itself to new surroundings. It looked handsome, and it moved handsomely. Sighs. Birgit Nilsson and Franco Corelli took the leading roles as usual, the singing was magnificent. What else is there to say! This was a beautifully knit performance. Cecil Beaton’s sets and costumes rate among the best creations. Nathaniel Merrill has achieved some of the most imaginative staging. The cast is excellent. A new element entered with Zubin Mehta taking the conductor’s assignment. He imparts vitality and usually comprehends everything he does. The live acoustics of the pit led to overloud playing, but most interestingly he restrained himself in giving full rein to Puccini’s romanticism.
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080212
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080428
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080532
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
ERNANI:Verdi
Schippers; Corelli, Price, Sereni, Siepi
Original Air Date: 04/10/1965
MOD Audio
SID.20080744
The Met has two outstanding Ernani broadcasts from the mid 1960s, both with Schippers and Leontyne Price. The first is with Bergonzi and MacNeil, and the second features the special contributions of Corelli and Siepi. Luckily both are on MOoD, with the first also issued on Sony Historical CD. Both these performances belong in every Verdi lover’s playlist. Ernani was back later with Domingo in the baritone role; his only Met appearance in the title role was in 1971 (not broadcast).
DON CARLO:Verdi
Adler; Corelli, Rysanek, Herlea, Dalis, Tozzi, Uhde
Original Air Date: 03/07/1964
MOD Audio
SID.20120214
This performance is in the Sony Historical CD series. Corelli is the centerpiece, but he despite being in thrilling voice, is a bit of a mess. Rysanek has her moments, some very good, some not so good. Herlea is a successful debutant as Rodrigo, and Dalis a distinctive Eboli. The great Met Ebolis are shortly to arrive with Bumbry, Cossotto, Verrett and Zajick. This performance is heavily cut and Tozzi shows signs that his voice is no longer in prime condition, but one of the most beautiful voices ever in that prime.
DON CARLO:Verdi
Adler; Corelli, Rysanek, Herlea, Dalis, Tozzi, Uhde
Original Air Date: 03/07/1964
MOD Audio
SID.20120423
This performance is in the Sony Historical CD series. Corelli is the centerpiece, but he despite being in thrilling voice, is a bit of a mess. Rysanek has her moments, some very good, some not so good. Herlea is a successful debutant as Rodrigo, and Dalis a distinctive Eboli. The great Met Ebolis are shortly to arrive with Bumbry, Cossotto, Verrett and Zajick. This performance is heavily cut and Tozzi shows signs that his voice is no longer in prime condition, but one of the most beautiful voices ever in that prime.
DON CARLO:Verdi
Adler; Corelli, Rysanek, Herlea, Dalis, Tozzi, Uhde
Original Air Date: 03/07/1964
MOD Audio
SID.20120746
This performance is in the Sony Historical CD series. Corelli is the centerpiece, but he despite being in thrilling voice, is a bit of a mess. Rysanek has her moments, some very good, some not so good. Herlea is a successful debutant as Rodrigo, and Dalis a distinctive Eboli. The great Met Ebolis are shortly to arrive with Bumbry, Cossotto, Verrett and Zajick. This performance is heavily cut and Tozzi shows signs that his voice is no longer in prime condition, but one of the most beautiful voices ever in that prime.
LA GIOCONDA:Ponchielli
Cleva; Farrell, Corelli, Merrill, Rankin, Tozzi
Original Air Date: 03/31/1962
SID.20130213
RWW: Here is why I love the current Sirius service for Met repertory : The fall performances went unbroadcast. This 19700/71 Hoffmann was divided between a fall group with Grist, Elias, and Lorengar in the three ladies and the spring offering was Boky, Crespin, and Amara. The excellent Gedda and Bacquier were in both parts of the revival. I saw one of the fall performances and Grist and Lorengar were excellent. The broadcast does not come until spring, and much as Ilove Crespin as an artist, her Giulietta while visually dazzling was one rocky ride on the Venetian canal. Amara sang a solid Antonia, but her tone never had the luster of a Lorengar. Boky I found similarly lacking compared to Grist. Baudo is no Julius Rudel (among the best conductors I’ve ever heard for Hoffmann) or Chailly, let alone Monteux who originated the production in 1955. What should be mentioned is the strong supporting cast including von Stade as Nicklausse , Velis in the 4 comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LA GIOCONDA:Ponchielli
Cleva; Farrell, Corelli, Merrill, Rankin, Tozzi
Original Air Date: 03/31/1962
SID.20130433
RWW: Here is why I love the current Sirius service for Met repertory : The fall performances went unbroadcast. This 19700/71 Hoffmann was divided between a fall group with Grist, Elias, and Lorengar in the three ladies and the spring offering was Boky, Crespin, and Amara. The excellent Gedda and Bacquier were in both parts of the revival. I saw one of the fall performances and Grist and Lorengar were excellent. The broadcast does not come until spring, and much as Ilove Crespin as an artist, her Giulietta while visually dazzling was one rocky ride on the Venetian canal. Amara sang a solid Antonia, but her tone never had the luster of a Lorengar. Boky I found similarly lacking compared to Grist. Baudo is no Julius Rudel (among the best conductors I’ve ever heard for Hoffmann) or Chailly, let alone Monteux who originated the production in 1955. What should be mentioned is the strong supporting cast including von Stade as Nicklausse , Velis in the 4 comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LA GIOCONDA:Ponchielli
Cleva; Farrell, Corelli, Merrill, Rankin, Tozzi
Original Air Date: 03/31/1962
SID.20130751
RWW: Here is why I love the current Sirius service for Met repertory : The fall performances went unbroadcast. This 19700/71 Hoffmann was divided between a fall group with Grist, Elias, and Lorengar in the three ladies and the spring offering was Boky, Crespin, and Amara. The excellent Gedda and Bacquier were in both parts of the revival. I saw one of the fall performances and Grist and Lorengar were excellent. The broadcast does not come until spring, and much as Ilove Crespin as an artist, her Giulietta while visually dazzling was one rocky ride on the Venetian canal. Amara sang a solid Antonia, but her tone never had the luster of a Lorengar. Boky I found similarly lacking compared to Grist. Baudo is no Julius Rudel (among the best conductors I’ve ever heard for Hoffmann) or Chailly, let alone Monteux who originated the production in 1955. What should be mentioned is the strong supporting cast including von Stade as Nicklausse , Velis in the 4 comic tenor parts, and Paul Franke as an inimitable Spalanzani.
ROMÉO ET JULIETTE:Gounod
Lewis; Corelli, Blegen, Gill, Munzer, Carlson
Original Air Date: 12/07/1974
SID.20170317
This performance does not catch Corelli at his best. This is his final season and he completes his Met broadcast career 2 weeks later with a Turandot (and Bjoner’s final met appearance). For a man with almost 400 Met performances, he is richly represented in the broadcast archives. Better to listen to the Trovatore or Turandot in 1961 (a month apart!!!) or the AIda or Tosca from 1962 (also a month apart) or many others. Blegen is OK, but would be better paired with a different Romeo. This performance is on MOoD as well, and Blegen is very good. This is towards the end of the Corelli era (his next to last broadcast) and a close examination of his work is not always satisfying. This is Corelli’s penultimate Met broadcast, with Turandot occurring three weeks later (also Bjoner’s farewell to the Met in that performance). Corelli is second only to de Rezke in Romeo totals at the Met with his 36 performances. When paired with Freni as they were for the production’s premiere in 1967, one does not worry quite so much about the mostly absent French style. Freni had Gedda as her partner for the first broadcast of this production, then Corelli comes back for the next with Pilou as his partner and Lombard in the pit. Corelli has a second broadcast with Boky that finds neither of them in best voice. Blegen is a fine Juliette with him on the third, but the weak link for me this time is the conductor, Henry Lewis, who is no better than the weaker members of the Met’s Asst. Conductor staff. You can hear for yourself on MOoD.
ROMÉO ET JULIETTE:Gounod
Lewis; Corelli, Blegen, Gill, Munzer, Carlson
Original Air Date: 12/07/1974
SID.20170535
This performance does not catch Corelli at his best. This is his final season and he completes his Met broadcast career 2 weeks later with a Turandot (and Bjoner’s final met appearance). For a man with almost 400 Met performances, he is richly represented in the broadcast archives. Better to listen to the Trovatore or Turandot in 1961 (a month apart!!!) or the AIda or Tosca from 1962 (also a month apart) or many others. Blegen is OK, but would be better paired with a different Romeo. This performance is on MOoD as well, and Blegen is very good. This is towards the end of the Corelli era (his next to last broadcast) and a close examination of his work is not always satisfying. This is Corelli’s penultimate Met broadcast, with Turandot occurring three weeks later (also Bjoner’s farewell to the Met in that performance). Corelli is second only to de Rezke in Romeo totals at the Met with his 36 performances. When paired with Freni as they were for the production’s premiere in 1967, one does not worry quite so much about the mostly absent French style. Freni had Gedda as her partner for the first broadcast of this production, then Corelli comes back for the next with Pilou as his partner and Lombard in the pit. Corelli has a second broadcast with Boky that finds neither of them in best voice. Blegen is a fine Juliette with him on the third, but the weak link for me this time is the conductor, Henry Lewis, who is no better than the weaker members of the Met’s Asst. Conductor staff. You can hear for yourself on MOoD.
ROMÉO ET JULIETTE:Gounod
Lewis; Corelli, Blegen, Gill, Munzer, Carlson
Original Air Date: 12/07/1974
SID.20170753
This performance does not catch Corelli at his best. This is his final season and he completes his Met broadcast career 2 weeks later with a Turandot (and Bjoner’s final met appearance). For a man with almost 400 Met performances, he is richly represented in the broadcast archives. Better to listen to the Trovatore or Turandot in 1961 (a month apart!!!) or the AIda or Tosca from 1962 (also a month apart) or many others. Blegen is OK, but would be better paired with a different Romeo. This performance is on MOoD as well, and Blegen is very good. This is towards the end of the Corelli era (his next to last broadcast) and a close examination of his work is not always satisfying. This is Corelli’s penultimate Met broadcast, with Turandot occurring three weeks later (also Bjoner’s farewell to the Met in that performance). Corelli is second only to de Rezke in Romeo totals at the Met with his 36 performances. When paired with Freni as they were for the production’s premiere in 1967, one does not worry quite so much about the mostly absent French style. Freni had Gedda as her partner for the first broadcast of this production, then Corelli comes back for the next with Pilou as his partner and Lombard in the pit. Corelli has a second broadcast with Boky that finds neither of them in best voice. Blegen is a fine Juliette with him on the third, but the weak link for me this time is the conductor, Henry Lewis, who is no better than the weaker members of the Met’s Asst. Conductor staff. You can hear for yourself on MOoD.