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.
LA BOHÈME:Puccini
Original Air Date: 01/20/1962
Rich; Amara, Morell, Hurley, Testi, Giaiotti
SID.19360104
Not much in this cast draws me except for Giaiotti’s only broadcast Colline. He was considered by many in the tier behind Siepi, Tozzi, and Hines. He was an anchor of the Met ensemble for almost 3 decades, and frequently encountered as Timur, Raimondo, and Ramfis. There are definitely more interesting Bohemes out there, and they are broadcast more frequently than this. Still not a plus in this week’s listings.
LA BOHÈME:Puccini
Original Air Date: 01/20/1962
Rich; Amara, Morell, Hurley, Testi, Giaiotti
SID.19360320
Not much in this cast draws me except for Giaiotti’s only broadcast Colline. He was considered by many in the tier behind Siepi, Tozzi, and Hines. He was an anchor of the Met ensemble for almost 3 decades, and frequently encountered as Timur, Raimondo, and Ramfis. There are definitely more interesting Bohemes out there, and they are broadcast more frequently than this. Still not a plus in this week’s listings.
LA BOHÈME:Puccini
Original Air Date: 01/20/1962
Rich; Amara, Morell, Hurley, Testi, Giaiotti
SID.19360530
Not much in this cast draws me except for Giaiotti’s only broadcast Colline. He was considered by many in the tier behind Siepi, Tozzi, and Hines. He was an anchor of the Met ensemble for almost 3 decades, and frequently encountered as Timur, Raimondo, and Ramfis. There are definitely more interesting Bohemes out there, and they are broadcast more frequently than this. Still not a plus in this week’s listings.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410104
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410319
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410637
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
CARMEN:Bizet
Lewis; Horne, McCracken, Amara, Krause
Original Air Date: 03/10/1973
SID.19490213
I was surprised to find that there is only one other Horne-McCracken Carmen broadcast (from a year later with Reardon for Krause). The loss to the broadcasts is the premiere of the production with them under Bernstein (there is a commercial DG recording, but esp. for McCracken, live is very different). Most of the protagonists in Met broadcast Carmens have been represented back to 1937 with Ponselle. There are three 1950s performances which include two Joses from Mario del Monaco,and one with Giuseppe di Stefano, all with Stevens. I’ve heard excerpts of these, and they should be broadcast. The second Del Monaco from 1957 features Mitropoulos in the pit, so that would be first on my list. The DiStefano has been available on private recordings and features Di Stefano breaking her arm (literally) and her clearly saying Put my arm down. I would put in a word for Borodina’s 2001 Carmen (she has been streamed in recent years) with Richard Leech and snappy conducting from Bertrand de Billy. Vocally she is the most glamorous Carmen in some time, and especially so on this broadcast. Horne was very good when she opened the season under Bernstein, but the performance became steadily less subtle vocally,and by the time Lenny was gone, I found it very vin ordinaire Same cast and conductor (except Reardon for Krause) broadcast it again a year later in a performance available on MOoD. The performers are no better.
CARMEN:Bizet
Lewis; Horne, McCracken, Amara, Krause
Original Air Date: 03/10/1973
SID.19490530
I was surprised to find that there is only one other Horne-McCracken Carmen broadcast (from a year later with Reardon for Krause). The loss to the broadcasts is the premiere of the production with them under Bernstein (there is a commercial DG recording, but esp. for McCracken, live is very different). Most of the protagonists in Met broadcast Carmens have been represented back to 1937 with Ponselle. There are three 1950s performances which include two Joses from Mario del Monaco,and one with Giuseppe di Stefano, all with Stevens. I’ve heard excerpts of these, and they should be broadcast. The second Del Monaco from 1957 features Mitropoulos in the pit, so that would be first on my list. The DiStefano has been available on private recordings and features Di Stefano breaking her arm (literally) and her clearly saying Put my arm down. I would put in a word for Borodina’s 2001 Carmen (she has been streamed in recent years) with Richard Leech and snappy conducting from Bertrand de Billy. Vocally she is the most glamorous Carmen in some time, and especially so on this broadcast. This is not my kind of Carmen. Horne was very good when she opened the season under Bernstein, but the performance became steadily less subtle vocally,and by the time Lenny was gone, I found it very vin ordinaire Same cast and conductor (except Reardon for Krause) broadcast it again a year later in a performance available on MOoD. The performers are no better.
CARMEN:Bizet
Lewis; Horne, McCracken, Amara, Krause
Original Air Date: 03/10/1973
SID.19490745
I was surprised to find that there is only one other Horne-McCracken Carmen broadcast (from a year later with Reardon for Krause). The loss to the broadcasts is the premiere of the production with them under Bernstein (there is a commercial DG recording, but esp. for McCracken, live is very different). Most of the protagonists in Met broadcast Carmens have been represented back to 1937 with Ponselle. There are three 1950s performances which include two Joses from Mario del Monaco,and one with Giuseppe di Stefano, all with Stevens. I’ve heard excerpts of these, and they should be broadcast. The second Del Monaco from 1957 features Mitropoulos in the pit, so that would be first on my list. The DiStefano has been available on private recordings and features Di Stefano breaking her arm (literally) and her clearly saying Put my arm down. I would put in a word for Borodina’s 2001 Carmen (she has been streamed in recent years) with Richard Leech and snappy conducting from Bertrand de Billy. Vocally she is the most glamorous Carmen in some time, and especially so on this broadcast. Horne was very good when she opened the season under Bernstein, but the performance became steadily less subtle vocally,and by the time Lenny was gone, I found it very vin ordinaire Same cast and conductor (except Reardon for Krause) broadcast it again a year later in a performance available on MOoD. The performers are no better.
LES CONTES D’HOFFMANN:Offenbach
Morel; Gedda, London, Dobbs, Elias, Amara, Vanni
Original Air Date: 02/07/1959
MOD Audio
SID.19520211
This performance is always welcome on Sirius, for it is one of Gedda’s very best broadcasts. Morel’s style is also welcome. I’m not a huge fan of London’s villains (I prefer Singher’s) but this is a solid performance from top to bottom.
LES CONTES D’HOFFMANN:Offenbach
Morel; Gedda, London, Dobbs, Elias, Amara, Vanni
Original Air Date: 02/07/1959
MOD Audio
SID.19520422
This performance is always welcome on Sirius, for it is one of Gedda’s very best broadcasts. Morel’s style is also welcome. I’m not a huge fan of London’s villains (I prefer Singher’s) but this is a solid performance from top to bottom.
LES CONTES D’HOFFMANN:Offenbach
Morel; Gedda, London, Dobbs, Elias, Amara, Vanni
Original Air Date: 02/07/1959
MOD Audio
SID.19520428
This performance is always welcome on Sirius, for it is one of Gedda’s very best broadcasts. Morel’s style is also welcome. I’m not a huge fan of London’s villains (I prefer Singher’s) but this is a solid performance from top to bottom.
LES CONTES D’HOFFMANN:Offenbach
Morel; Gedda, London, Dobbs, Elias, Amara, Vanni
Original Air Date: 02/07/1959
MOD Audio
SID.19520637
This performance is always welcome on Sirius, for it is one of Gedda’s very best broadcasts. Morel’s style is also welcome. I’m not a huge fan of London’s villains (I prefer Singher’s) but this is a solid performance from top to bottom.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20050211
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20050530
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20060101
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20060102
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 04/05/1969
SID.20060107
This is the same cast and conductor as the production premiere the previous season in the new house’s inaugural season when the third performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this workThis is the same cast and conductor as the production premiere the previous season in the new house’s inaugural season when the third performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this work.
performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this workThis is the same cast and conductor as the production premiere the previous season in the new house’s inaugural season when the third performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this work.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20060318
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
LES CONTES D’HOFFMANN:Offenbach
Baudo; Gedda, Bacquier, Boky, Crespin, Amara, von Stade
Original Air Date: 04/10/1971
MOD Audio
SID.20060534
The fall performances went unbroadcast. This 1970/71 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. In the fall performances Grist and Lorengar were excellent. The broadcast does not come until spring, Crespin’s 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 is 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 four comic tenor parts, and Paul Franke as an inimitable Spalanzani.
performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this workThis is the same cast and conductor as the production premiere the previous season in the new house’s inaugural season when the third performance was broadcast. Colin Davis, Jon Vickers, and Geraint Evans are the gold standard in this work.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 02/11/1967
SID.20140317
HIghly recommended. This is the first of Vickers’ four broadcast Peter Grimes and the partnership with Colin Davis yields some first-rate music making. It is the first broadcast by Vickers in the new production from the Lincoln Center Met’s first season. Colin Davis only has four broadcasts from the Met (two Grimes, Wozzeck, Pelleas) and he and Vickers contributed memorable performances on both sides of the Atlantic. This is the third performance of the Vickers/Davis/Guthrie 1967 production which added a great role to Vickers’ gallery of overwhelming portrayals. While Britten was reportedly none too pleased with Vickers’ approach, the royalty coffers were greatly enriched by Vickers performances around the world which put Grimes solidly into mainstream repertory. There is a commercial video from Covent Garden (with Davis conducting as well) which is highly recommended in addition to this broadcast. Two years later the exact same cast broadcasts it again and this second broadcast of the Guthrie/Davis/Vickers Grimes is on MOoD.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 02/11/1967
SID.20140535
HIghly recommended. This is the first of Vickers’ four broadcast Peter Grimes and the partnership with Colin Davis yields some first-rate music making. It is the first broadcast by Vickers in the new production from the Lincoln Center Met’s first season. Colin Davis only has four broadcasts from the Met (two Grimes, Wozzeck, Pelleas) and he and Vickers contributed memorable performances on both sides of the Atlantic.
This is the third performance of the Vickers/Davis/Guthrie 1967 production which added a great role to Vickers’ gallery of overwhelming portrayals. While Britten was reportedly none too pleased with Vickers’ approach, the royalty coffers were greatly enriched by Vickers performances around the world which put Grimes solidly into mainstream repertory. There is a commercial video from Covent Garden (with Davis conducting as well) which is highly recommended in addition to this broadcast. Two years later the exact same cast broadcasts it again and this second broadcast of the Guthrie/Davis/Vickers Grimes is on MOoD.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 02/11/1967
SID.20150101
HIghly recommended. This is the first of Vickers’ four broadcast Peter Grimes and the partnership with Colin Davis yields some first-rate music making. It is the first broadcast by Vickers in the new production from the Lincoln Center Met’s first season. Colin Davis only has four broadcasts from the Met (two Grimes, Wozzeck, Pelleas) and he and Vickers contributed memorable performances on both sides of the Atlantic. This is the third performance of the Vickers/Davis/Guthrie 1967 production which added a great role to Vickers’ gallery of overwhelming portrayals. While Britten was reportedly none too pleased with Vickers’ approach, the royalty coffers were greatly enriched by Vickers performances around the world which put Grimes solidly into mainstream repertory. There is a commercial video from Covent Garden (with Davis conducting as well) which is highly recommended in addition to this broadcast. Two years later the exact same cast broadcasts it again and this second broadcast of the Guthrie/Davis/Vickers Grimes is on MOoD.
LES CONTES D’HOFFMANN:Offenbach
Varviso; Alexander, Dooley, Scovotti, Cvejic, Amara, Martin
Original Air Date: 02/27/1965
SID.20150209
This performance goes back to the old house, and has the distinction of being John Alexander’s only broadcast Hoffmann. His career is distinguished by regularly being asked for by the biggest named sopranos in the world–Beverly Sills, Montserrat Caballe, Renata Tebaldi, Leontyne Price, and a repertory that was as comfortable in Mozart and the French, as he was in German (Walther and Bacchus among his roles) and Italian. He was a bit like Alberto Remedios, but with more coloratura flexibility; both with sweet voices that could cope with roles that often defeated less technically secure colleagues. Antonia is one of Amara’s best parts.
LES CONTES D’HOFFMANN:Offenbach
Varviso; Alexander, Dooley, Scovotti, Cvejic, Amara, Martin
Original Air Date: 02/27/1965
SID.20150427
This performance goes back to the old house, and has the distinction of being John Alexander’s only broadcast Hoffmann. His career is distinguished by regularly being asked for by the biggest named sopranos in the world–Beverly Sills, Montserrat Caballe, Renata Tebaldi, Leontyne Price, and a repertory that was as comfortable in Mozart and the French, as he was in German (Walther and Bacchus among his roles) and Italian. He was a bit like Alberto Remedios, but with more coloratura flexibility; both with sweet voices that could cope with roles that often defeated less technically secure colleagues. Antonia is one of Amara’s best parts.
PETER GRIMES:Britten
Davis; Vickers, Amara, Evans, Madeira, Chookasian
Original Air Date: 02/11/1967
SID.20150750
HIghly recommended. This is the first of Vickers’ four broadcast Peter Grimes and the partnership with Colin Davis yields some first-rate music making. It is the first broadcast by Vickers in the new production from the Lincoln Center Met’s first season. Colin Davis only has four broadcasts from the Met (two Grimes, Wozzeck, Pelleas) and he and Vickers contributed memorable performances on both sides of the Atlantic. This is the third performance of the Vickers/Davis/Guthrie 1967 production which added a great role to Vickers’ gallery of overwhelming portrayals. While Britten was reportedly none too pleased with Vickers’ approach, the royalty coffers were greatly enriched by Vickers performances around the world which put Grimes solidly into mainstream repertory. There is a commercial video from Covent Garden (with Davis conducting as well) which is highly recommended in addition to this broadcast. Two years later the exact same cast broadcasts it again and this second broadcast of the Guthrie/Davis/Vickers Grimes is on MOoD.