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.
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380104
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380105
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380320
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380321
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380637
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Original Air Date: 04/21/1984
Levine; Ciannella, Caballé, Bruson, Verrett, Plishka, Hines
SID.19380638
This performance is not on so often, and it is Bruson’s Met farewell–he is STILL singing!!! His Met debut was 15 years earlier on the broadcast Lucia with Moffo 2/1/69. He has a good sense of Verdian line, but I like a bit more squillo. Zancanaro is a tone more to my liking, but he always seemed to prefer fishing to visiting NYC. Caballe only has an opening night run of Toscas ahead of her (none broadcast), so this serves as her broadcast farewell. She’s a more uneven singer than when she arrived 20 years earlier, but only made it to 98 performances. She always seemed happier at Carnegie Hall and a music stand handy. At her best she could make some lovely sounds. Verrett is not in the first flush of youth either, but this cast — Ciannella excepted– are people well up to their roles, and since it is my favorite Verdian opera for sure and close to my all-time top, this performance makes a welcome addition to the week. Caballe’s first Elisabetta broadcast is from Bing’s final season (the one with the endlessly held B (I believe) with Bumbry, Siepi, Milnes, and Domingo which has not been on Sirius at all and except for the Scotto Troyanos video from 1980 there is nothing in the Met streaming service from 1964 (Rysanek, Corelli) till 1992, These two Caballe Don Carlos belong there. [Alas, the streaming service is still missing these Don Carlos]
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420211
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420426
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
DON CARLO:Verdi
Stiedry; Bjorling, Rigal, Merrill, Barbieri, Siepi, Hines
Original Air Date: 11/11/1950
MOD Audio
SID.19420529
This is the production that opened the Bing regime in 1950, and re-introduces Don Carlo to New York audiences. The men are the equal or superior of just about anyone who has ever sung these roles. Barbieri was new, and if Eboli was not quite her meat as much as her Amneris, Azucena, and Quickly, she was still the Eboli of choice when the sainted Covent Garden production of 1958 made the case in London for the opera 8 years later. New York was to see more sensational Ebolis in the 1960s with Bumbry, Cossotto, and Verrett delivering masterful portrayals of the Princess. Rigal would not have seemed quite so short of desirable had she had less outstanding colleagues. Elisabetta remains a challenging role, and though never essayed by Milanov (then the queen of Verdi in New York) or Tebaldi (never did the part onstage), the part didn’t turn out to be a major success for either Steber or Rysanek, though both have their moments in the role. Caballe, Freni, Kabaiwanska and Millo all were notable exponents, but runs were very limited. Scotto is mostly very good (not too late, not too heavy, but still not quite the right voice, if still wonderful stylistically. A propos the discussion on Verdi sopranos, Leontyne Price never did the part, which is unsurprising as it does not play to her considerable Verdian strengths—but that’s another discussion. Siepi’s contribution is particularly important in that he opens and closes the Bing regime as Filippo, and it is a shame that the April 1972 performance has not been rebroadcast. Three veterans of the 1950 broadcast, Merrill, Siepi, and Amara (Celestial Voice) as well as two new Verdian stars in Caballe and Milnes.
DON CARLO:Verdi
Stiedry; Tucker, Rigal, Silveri, Barbieri, Hines, Hotter
Original Air Date: 04/05/1952
MOD Audio
SID.19510214
This is most distinctive for being Tucker’s first Don Carlo broadcast and one of Hotter’s few. This is the first of Tucker’s three Don Carlo broadcasts, and I find his 1955 preferable. What I’ve never heard, but also from 1952 (but next season) is his second which has a better supporting cast with Merrill for Silveri, and Siepi for Hines as Filippo; Erede is in the pit for his only Don Carlo broadcast. Also unusual is that though Tucker went on to sing the opera for 15 more years after his 1955 broadcast with Steber, he never went to the airwaves for it again. At 26 performances, he is by far the Don Carlo champion– I saw him in it three times. most notably at a fall 1968 matinee not broadcast with (Orlandi, Verrett, Merrill, Ghiaurov, and Talvela under Abbado). Bing did not see Hotter in leading roles and in Walkure he was cast as Hunding, not Wotan. What has not been rebroadcast on Sirius is Hotter’s farewell which is a 1954 Parsifal with Svanholm, Varnay, and London, and Hotter as Gurnemanz under Stiedry.
DON CARLO:Verdi
Stiedry; Tucker, Rigal, Silveri, Barbieri, Hines, Hotter
Original Air Date: 04/05/1952
MOD Audio
SID.19510531
This is most distinctive for being Tucker’s first Don Carlo broadcast and one of Hotter’s few. This is the first of Tucker’s three Don Carlo broadcasts, and I find his 1955 preferable. What I’ve never heard, but also from 1952 (but next season) is his second which has a better supporting cast with Merrill for Silveri, and Siepi for Hines as Filippo; Erede is in the pit for his only Don Carlo broadcast. Also unusual is that though Tucker went on to sing the opera for 15 more years after his 1955 broadcast with Steber, he never went to the airwaves for it again. At 26 performances, he is by far the Don Carlo champion– I saw him in it three times. most notably at a fall 1968 matinee not broadcast with (Orlandi, Verrett, Merrill, Ghiaurov, and Talvela under Abbado). Bing did not see Hotter in leading roles and in Walkure he was cast as Hunding, not Wotan. What has not been rebroadcast on Sirius is Hotter’s farewell which is a 1954 Parsifal with Svanholm, Varnay, and London, and Hotter as Gurnemanz under Stiedry.
DON CARLO:Verdi
Stiedry; Tucker, Rigal, Silveri, Barbieri, Hines, Hotter
Original Air Date: 04/05/1952
MOD Audio
SID.19510746
This is most distinctive for being Tucker’s first Don Carlo broadcast and one of Hotter’s few. This is the first of Tucker’s three Don Carlo broadcasts, and I find his 1955 preferable. What I’ve never heard, but also from 1952 (but next season) is his second which has a better supporting cast with Merrill for Silveri, and Siepi for Hines as Filippo; Erede is in the pit for his only Don Carlo broadcast. Also unusual is that though Tucker went on to sing the opera for 15 more years after his 1955 broadcast with Steber, he never went to the airwaves for it again. At 26 performances, he is by far the Don Carlo champion– I saw him in it three times. most notably at a fall 1968 matinee not broadcast with (Orlandi, Verrett, Merrill, Ghiaurov, and Talvela under Abbado). Bing did not see Hotter in leading roles and in Walkure he was cast as Hunding, not Wotan. What has not been rebroadcast on Sirius is Hotter’s farewell which is a 1954 Parsifal with Svanholm, Varnay, and London, and Hotter as Gurnemanz under Stiedry.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030103
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030422
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
Verdi
Levine; Shicoff, Price, Weikl, Troyanos, Raimondi, Rootering
Original Air Date: 02/11/1989
SID.20030534
The Price here is Margaret Price and her only other Met broadcast is Otello with Domingo and Milnes from her debut year in 1985 which has so far eluded the airwaves. Shicoff is also under-represented so this performance is especially welcomed — this is only the third rotation since its first Sirius rebroadcast in 2014. The rest of the male cast are not my favorites in this very favorite opera of mine.
Levine; Norden, Mitchell, Scotto, Horne, Giacomini, Ghiaurov, Milnes, Morris
Original Air Date: 02/24/1979
SID.20070103
DON CARLO:Verdi
Levine; Norden, Mitchell, Scotto, Horne, Giacomini, Ghiaurov, Milnes, Morris
Original Air Date: 02/24/1979
SID.20070319
This is Levine’s first year conducting Don Carlo, and in its full five act format. I don’t think Horne works very well at all, and some of the phrases press Scotto very hard. The men are solid, though it’s not my favorite Posa. Ghiaurov is caught well past his best, Horne is miscast, Scotto is overparted, and Giacomini rather monochrone in his first Met season. Morris is one of the younger Inquisitors, and certainly gala casting for the Celestial Voice from Leona Mitchell. What is a surprise is that Don Carlo which is one of Levine’s most frequent assignments (60 performances) and a Met record for the opera, but the only Levine performances listed in MOoD is the atreamed audio from 2006 with Racette and Botha, and neither of the videos — the first with Freni, the second with Scotto (with Moldoveanu and Troyanos) which have been available on DVD have made it to MOoD. Whatever the limitations of individual performers, this is a full voiced line-up.
DON CARLO:Verdi
Levine; Norden, Mitchell, Scotto, Horne, Giacomini, Ghiaurov, Milnes, Morris
Original Air Date: 02/24/1979
SID.20070535
This is Levine’s first year conducting Don Carlo, and in its full five act format. I don’t think Horne works very well at all, and some of the phrases press Scotto very hard. The men are solid, though it’s not my favorite Posa. Ghiaurov is caught well past his best, Horne is miscast, Scotto is overparted, and Giacomini rather monochrone in his first Met season. Morris is one of the younger Inquisitors, and certainly gala casting for the Celestial Voice from Leona Mitchell. What is a surprise is that Don Carlo which is one of Levine’s most frequent assignments (60 performances) and a Met record for the opera, but the only Levine performances listed in MOoD is the atreamed audio from 2006 with Racette and Botha, and neither of the videos — the first with Freni, the second with Scotto (with Moldoveanu and Troyanos) which have been available on DVD have made it to MOoD. Whatever the limitations of individual performers, this is a full voiced line-up.
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.
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
DON CARLO:Verdi
Levine; Sylvester, Millo, Chernov, Zajick, Ramey, Koptchak
Original Air Date: 03/14/1992
SID.20160211
Sylvester, Millo, Chernov, and Zajick all repeat their roles from the Levine Sony Classical studio recording and this broadcast has been added to MOoD relatively recently ; Ramey who is the recording’s Inquisitor moves up to Filippo for this Met series including this broadcast, with Koptchak taking over the GI. This is the first of Zajick’s three broadcast outings as Eboli, and she is one of the best. Chernov who never quite turned into the new Robert Merrill still had a beautifully burnished tone, and his voice is a more natural fit than say Keenlyside (at least at the Met). This is Millo’s final Elisabetta with the Met (her earlier broadcast is in 1986). This is Ramey’s first of two Filippo broadcasts — 2002 (also with Zajick) is under Gergiev. Sylvester is a first rate Don Carlo, and while I loved this past season’s conducting by Nezet-Seguin, this 1992 cast is a world above the most recent casting and one of the best balanced Don Carlo casts ever.
DON CARLO:Verdi
Levine; Sylvester, Millo, Chernov, Zajick, Ramey, Koptchak
Original Air Date: 03/14/1992
SID.20160429
Sylvester, Millo, Chernov, and Zajick all repeat their roles from the Levine Sony Classical studio recording and this broadcast has been added to MOoD relatively recently ; Ramey who is the recording’s Inquisitor moves up to Filippo for this Met series including this broadcast, with Koptchak taking over the GI. This is the first of Zajick’s three broadcast outings as Eboli, and she is one of the best. Chernov who never quite turned into the new Robert Merrill still had a beautifully burnished tone, and his voice is a more natural fit than say Keenlyside (at least at the Met). This is Millo’s final Elisabetta with the Met (her earlier broadcast is in 1986). This is Ramey’s first of two Filippo broadcasts — 2002 (also with Zajick) is under Gergiev. Sylvester is a first rate Don Carlo, and while I loved this past season’s conducting by Nezet-Seguin, this 1992 cast is a world above the most recent casting and one of the best balanced Don Carlo casts ever.
DON CARLO:Verdi
Levine; Sylvester, Millo, Chernov, Zajick, Ramey, Koptchak
Original Air Date: 03/14/1992
SID.20160648
Sylvester, Millo, Chernov, and Zajick all repeat their roles from the Levine Sony Classical studio recording and this broadcast has been added to MOoD relatively recently ; Ramey who is the recording’s Inquisitor moves up to Filippo for this Met series including this broadcast, with Koptchak taking over the GI. This is the first of Zajick’s three broadcast outings as Eboli, and she is one of the best. Chernov who never quite turned into the new Robert Merrill still had a beautifully burnished tone, and his voice is a more natural fit than say Keenlyside (at least at the Met). This is Millo’s final Elisabetta with the Met (her earlier broadcast is in 1986). This is Ramey’s first of two Filippo broadcasts — 2002 (also with Zajick) is under Gergiev. Sylvester is a first rate Don Carlo, and while I loved this past season’s conducting by Nezet-Seguin, this 1992 cast is a world above the most recent casting and one of the best balanced Don Carlo casts ever.