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.
MANON:Massenet
Original Air Date: 12/18/1954
Monteux; de los Angeles, Valletti, Corena
SID.19340637
This performance is notable for the special qualities of Monteux , de Los Angeles, and Valletti, a performance to treasure. Once again I will put in a plea for the December 1959 broadcast with de Los Angeles and Gedda under Jean Morel, which has not been heard on Sirius at all.This performance is notable for the special qualities of Monteux , de Los Angeles, and Valletti, a performance to treasure. Once again I will put in a plea for the December 1959 broadcast with de Los Angeles and Gedda under Jean Morel, which has not been heard on Sirius at all.
ORFEO ED EURIDICE:Gluck
Monteux; Stevens, Güden, Hurley
Original Air Date: 04/09/1955
SID.19470422
Stevens has two runs at the Met in 1955 under Monteux and three seasons later with a broadcast now under Max Rudolf and with Amara the Euridice. For my money no one ever looked better as Orfeo, but the audio only record is not nearly as memorable. Monteux is a legendary conductor (world premieres of Rite of spring and Daphnis and Chloe in Paris), but not sure that Gluck finds him at his best. This Orfeo is from his penultimate Met season. Monteux who also recorded it with Stevens, is really part of history (he conducted the world premieres of Rite of spring and Daphnis and Chlore). Stevens is a much beloved Met figure, but I think there are better ways to experience Orfeo.
ORFEO ED EURIDICE:Gluck
Monteux; Stevens, Güden, Hurley
Original Air Date: 04/09/1955
SID.19470530
Stevens has two runs at the Met in 1955 under Monteux and three seasons later with a broadcast now under Max Rudolf and with Amara the Euridice. For my money no one ever looked better as Orfeo, but the audio only record is not nearly as memorable. Monteux is a legendary conductor (world premieres of Rite of spring and Daphnis and Chloe in Paris), but not sure that Gluck finds him at his best. This Orfeo is from his penultimate Met season. Monteux who also recorded it with Stevens, is really part of history (he conducted the world premieres of Rite of spring and Daphnis and Chlore). Stevens is a much beloved Met figure, but I think there are better ways to experience Orfeo.
ORFEO ED EURIDICE:Gluck
Monteux; Stevens, Güden, Hurley
Original Air Date: 04/09/1955
SID.19470745
Stevens has two runs at the Met in 1955 under Monteux and three seasons later with a broadcast now under Max Rudolf and with Amara the Euridice. For my money no one ever looked better as Orfeo, but the audio only record is not nearly as memorable. Monteux is a legendary conductor (world premieres of Rite of spring and Daphnis and Chloe in Paris), but not sure that Gluck finds him at his best. This Orfeo is from his penultimate Met season. Monteux who also recorded it with Stevens, is really part of history (he conducted the world premieres of Rite of spring and Daphnis and Chlore). Stevens is a much beloved Met figure, but I think there are better ways to experience Orfeo.
Ponchielli
Cleva; Milanov, Baum, Warren, Rankin, Tozzi
Original Air Date: 04/02/1955
SID.19480209
This is a pretty representative Gioconda cast for the 1950s. It should catch Tozzi in his prime condition coming a month after his debut and Rankin was well suited to Laura, an awkward part for many. Warren should also be at his best. That leaves Milanov and Baum in two giant roles. There is no question of Milanov’s legendary status and in this role in particular. She can also be a maddeningly uneven singer, sometimes within the same performance or even section of music. I love Gioconda, but it is a challenging sing. Callas has a fine studio recording made after her firing from the Met that is still very good, but I don’t have any Callas annals handy, but don’t think she has many/any after 1952. Tebaldi saved it till late in her career, and the part didn’t work for Farrell. I enjoyed both Bumbry and Marton, but the part was well beyond Scotto, and recent efforts by Voigt and Urmana are down another rung. Milanov’s melodramatics are solid.
Ponchielli
Cleva; Milanov, Baum, Warren, Rankin, Tozzi
Original Air Date: 04/02/1955
SID.19480529
This is a pretty representative Gioconda cast for the 1950s. It should catch Tozzi in his prime condition coming a month after his debut and Rankin was well suited to Laura, an awkward part for many. Warren should also be at his best. That leaves Milanov and Baum in two giant roles. There is no question of Milanov’s legendary status and in this role in particular. She can also be a maddeningly uneven singer, sometimes within the same performance or even section of music. I love Gioconda, but it is a challenging sing. Callas has a fine studio recording made after her firing from the Met that is still very good, but I don’t have any Callas annals handy, but don’t think she has many/any after 1952. Tebaldi saved it till late in her career, and the part didn’t work for Farrell. I enjoyed both Bumbry and Marton, but the part was well beyond Scotto, and recent efforts by Voigt and Urmana are down another rung. Milanov’s melodramatics are solid.
Ponchielli
Cleva; Milanov, Baum, Warren, Rankin, Tozzi
Original Air Date: 04/02/1955
SID.19480640
This is a pretty representative Gioconda cast for the 1950s. It should catch Tozzi in his prime condition coming a month after his debut and Rankin was well suited to Laura, an awkward part for many. Warren should also be at his best. That leaves Milanov and Baum in two giant roles. There is no question of Milanov’s legendary status and in this role in particular. She can also be a maddeningly uneven singer, sometimes within the same performance or even section of music. I love Gioconda, but it is a challenging sing. Callas has a fine studio recording made after her firing from the Met that is still very good, but I don’t have any Callas annals handy, but don’t think she has many/any after 1952. Tebaldi saved it till late in her career, and the part didn’t work for Farrell. I enjoyed both Bumbry and Marton, but the part was well beyond Scotto, and recent efforts by Voigt and Urmana are down another rung. Milanov’s melodramatics are solid.
Ponchielli
Cleva; Milanov, Baum, Warren, Rankin, Tozzi
Original Air Date: 04/02/1955
SID.19480748
This is a pretty representative Gioconda cast for the 1950s. It should catch Tozzi in his prime condition coming a month after his debut and Rankin was well suited to Laura, an awkward part for many. Warren should also be at his best. That leaves Milanov and Baum in two giant roles. There is no question of Milanov’s legendary status and in this role in particular. She can also be a maddeningly uneven singer, sometimes within the same performance or even section of music. I love Gioconda, but it is a challenging sing. Callas has a fine studio recording made after her firing from the Met that is still very good, but I don’t have any Callas annals handy, but don’t think she has many/any after 1952. Tebaldi saved it till late in her career, and the part didn’t work for Farrell. I enjoyed both Bumbry and Marton, but the part was well beyond Scotto, and recent efforts by Voigt and Urmana are down another rung. Milanov’s melodramatics are solid
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090214
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090531
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.
FAUST:Gounod
Monteux; Peerce, de los Angeles, Siepi, Merrill, Miller
Original Air Date: 02/19/1955
MOD Audio
SID.20090747
This is the second of Monteux’s three Faust broadcasts, the first one also including DeLosAngeles and Merrill. Paul Jackson, in is second volume reviewing Met broadcasts, Sign-off for the Old Met, is very favorable towards all three of them, a bit less so for Peerce and Siepi. I don’t have his reticence about Siepi and am glad this performance isvavailable on MOoD.