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.
AIDA:Verdi
Original Air Date: 03/11/1950
Cooper; Welitsch, Vinay, Harshaw, Merrill, Hines
MOD Audio SID.19360315
Welitsch has some powerful moments, and a pleasure to hear early Merrill in this role. He is the Met champion Amonasro with 72 (MacNeil is 71, and Amato 70)
AIDA:Verdi
Original Air Date: 03/11/1950
Cooper; Welitsch, Vinay, Harshaw, Merrill, Hines
MOD Audio SID.19360531
Welitsch has some powerful moments, and a pleasure to hear early Merrill in this role. He is the Met champion Amonasro with 72 (MacNeil is 71, and Amato 70)
AIDA:Verdi
Original Air Date: 03/11/1950
Cooper; Welitsch, Vinay, Harshaw, Merrill, Hines
MOD Audio SID.19360747
Welitsch has some powerful moments, and a pleasure to hear early Merrill in this role. He is the Met champion Amonasro with 72 (MacNeil is 71, and Amato 70)
OTELLO:Verdi
Stiedry; Vinay, Steber, Warren, Hayward
Original Air Date: 02/09/1952
SID.19430214
This performance has been on a European private label for some years, and the cast (including the conductor) get better and better as the afternoon progresses. Vinay is an acquired taste for some, but he fits well with this role. This is a very good time for Steber, and if you enjoyed her 1949 Violetta , this is very fine singing indeed. This is arguably Tebaldi’s best role, and her first two Met broadcasts first with Stiedry in 1955 and Cleva in 1958, both with Del Monaco still remain missing from the Sirius rebroadcast listings. Del Monaco’s first Met Otello (not broadcast ) is with this 1952 cast 6 days after Steber does her first with Vinay on the broadcast. The other major interest from Steber here is she sang Fiordiligi at night after this broadcast.
OTELLO:Verdi
Stiedry; Vinay, Steber, Warren, Hayward
Original Air Date: 02/09/1952
SID.19430533
This performance has been on a European private label for some years, and the cast (including the conductor) get better and better as the afternoon progresses. Vinay is an acquired taste for some, but he fits well with this role. This is a very good time for Steber, and if you enjoyed her 1949 Violetta , this is very fine singing indeed. This is arguably Tebaldi’s best role, and her first two Met broadcasts first with Stiedry in 1955 and Cleva in 1958, both with Del Monaco still remain missing from the Sirius rebroadcast listings. Del Monaco’s first Met Otello (not broadcast ) is with this 1952 cast 6 days after Steber does her first with Vinay on the broadcast. The other major interest from Steber here is she sang Fiordiligi at night after this broadcast.
ELEKTRA:Strauss
Rosenstock; Borkh, Rysanek, Madeira, Uhde, Vinay
Original Air Date: 03/25/1961
MOD Audio
SID.19450211
Rosenstock appears for the originally scheduled Mitropoulos who had died the previous November. Still, this is a powerful cast in a masterpiece. The whole cast is top drawer, and highly recommended. This is the only Elektra Borkh and Rysanek ever did together, and they are among the very best in these roles. Nice to welcome this performance to MOoD in their 2014 reissues. For me a highlight of the week. Rosenstock comes to the Met first in 1929, and left after one season (poor reviews compared to Bodanzky and Bodanzky returned the following season). Rosenstock returned to Germany, then to Japan for the WHOLE WWII at NHK. He gets back to New York, and starts anew at New York City Opera and succeeds Halasz as director in 1952. After 4 seasons as director, he is replaced by Julius Rudel, and then returns to the Met in 1961 replacing the recently deceased Mitropoulos. He goes on to conduct over 250 Met performances in the next 8 years. including Tosca and Lucia on the Met tour among just about everything. He is a solid conductor, and Borkh in 1961 one of the very great Elektras.
ELEKTRA:Strauss
Rosenstock; Borkh, Rysanek, Madeira, Uhde, Vinay
Original Air Date: 03/25/1961
MOD Audio
SID.19450530
Rosenstock appears for the originally scheduled Mitropoulos who had died the previous November. Still, this is a powerful cast in a masterpiece. The whole cast is top drawer, and highly recommended. This is the only Elektra Borkh and Rysanek ever did together, and they are among the very best in these roles. Nice to welcome this performance to MOoD in their 2014 reissues. For me a highlight of the week. Rosenstock comes to the Met first in 1929, and left after one season (poor reviews compared to Bodanzky and Bodanzky returned the following season). Rosenstock returned to Germany, then to Japan for the WHOLE WWII at NHK. He gets back to New York, and starts anew at New York City Opera and succeeds Halasz as director in 1952. After 4 seasons as director, he is replaced by Julius Rudel, and then returns to the Met in 1961 replacing the recently deceased Mitropoulos. He goes on to conduct over 250 Met performances in the next 8 years. including Tosca and Lucia on the Met tour among just about everything. He is a solid conductor, and Borkh in 1961 one of the very great Elektras.
ELEKTRA:Strauss
Rosenstock; Borkh, Rysanek, Madeira, Uhde, Vinay
Original Air Date: 03/25/1961
MOD Audio
SID.19450743
Rosenstock appears for the originally scheduled Mitropoulos who had died the previous November. Still, this is a powerful cast in a masterpiece. The whole cast is top drawer, and highly recommended. This is the only Elektra Borkh and Rysanek ever did together, and they are among the very best in these roles. Nice to welcome this performance to MOoD in their 2014 reissues. For me a highlight of the week. Rosenstock comes to the Met first in 1929, and left after one season (poor reviews compared to Bodanzky and Bodanzky returned the following season). Rosenstock returned to Germany, then to Japan for the WHOLE WWII at NHK. He gets back to New York, and starts anew at New York City Opera and succeeds Halasz as director in 1952. After 4 seasons as director, he is replaced by Julius Rudel, and then returns to the Met in 1961 replacing the recently deceased Mitropoulos. He goes on to conduct over 250 Met performances in the next 8 years. including Tosca and Lucia on the Met tour among just about everything. He is a solid conductor, and Borkh in 1961 one of the very great Elektras.
Saint-Saëns
Cooper; Vinay, Stevens, Merrill
Original Air Date: 11/26/1949
SID.20090213
I like Samson, but not quite as much as Sirius. Some listeners don’t cotton to Vinay, but I find him OK. This is Merrill’s first Met High Priest, and if not Gabriel Bacquier or Martial Singher, he has some major vocal trumps to play. I find Stevens a bit lacking on tonal voluptuousness for the part. Visually of course she had a lot to offer.
Saint-Saëns
Cooper; Vinay, Stevens, Merrill
Original Air Date: 11/26/1949
SID.20090530
I like Samson, but not quite as much as Sirius. Some listeners don’t cotton to Vinay, but I find him OK. This is Merrill’s first Met High Priest, and if not Gabriel Bacquier or Martial Singher, he has some major vocal trumps to play. I find Stevens a bit lacking on tonal voluptuousness for the part. Visually of course she had a lot to offer.
Saint-Saëns
Cooper; Vinay, Stevens, Merrill
Original Air Date: 11/26/1949
SID.20090746
I like Samson, but not quite as much as Sirius. Some listeners don’t cotton to Vinay, but I find him OK. This is Merrill’s first Met High Priest, and if not Gabriel Bacquier or Martial Singher, he has some major vocal trumps to play. I find Stevens a bit lacking on tonal voluptuousness for the part. Visually of course she had a lot to offer.
DIE WALKÜRE:Wagner
Mitropoulos; Harshaw, Edelmann, Schech, Vinay, Thebom, Böhme
Original Air Date: 02/02/1957
MOD Audio
SID.20160212
Mitropoulos is not often heard in Wagner, but he is alert to the drama at all times. Unfortunately, there are a number of cuts even in parts of the Todesverkundigung (about 4.5 minutes there by my check). Still, this is a performance worth hearing. Harshaw is a stalwart Brunnhilde, and Edelmann was not yet in terminal Ochs voice. I also like Vinay very much, but he is not to everyone’s taste. One of MY highlights for the week.
DIE WALKÜRE:Wagner
Mitropoulos; Harshaw, Edelmann, Schech, Vinay, Thebom, Böhme
Original Air Date: 02/02/1957
MOD Audio
SID.20160430
Mitropoulos is not often heard in Wagner, but he is alert to the drama at all times. Unfortunately, there are a number of cuts even in parts of the Todesverkundigung (about 4.5 minutes there by my check). Still, this is a performance worth hearing. Harshaw is a stalwart Brunnhilde, and Edelmann was not yet in terminal Ochs voice. I also like Vinay very much, but he is not to everyone’s taste. One of MY highlights for the week.
DIE WALKÜRE:Wagner
Mitropoulos; Harshaw, Edelmann, Schech, Vinay, Thebom, Böhme
Original Air Date: 02/02/1957
MOD Audio
SID.20160642
Mitropoulos is not often heard in Wagner, but he is alert to the drama at all times. Unfortunately, there are a number of cuts even in parts of the Todesverkundigung (about 4.5 minutes there by my check). Still, this is a performance worth hearing. Harshaw is a stalwart Brunnhilde, and Edelmann was not yet in terminal Ochs voice. I also like Vinay very much, but he is not to everyone’s taste. One of MY highlights for the week.