2019 Summer HD Festival

I LOMBARDI:Verdi
Original Air Date: 01/15/1994
Levine; Flanigan, Pavarotti, Beccaria, Plishka
MOD Audio SID.19370208
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.

I LOMBARDI:Verdi
Original Air Date: 01/15/1994
Levine; Flanigan, Pavarotti, Beccaria, Plishka
MOD Audio SID.19370424

This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.

AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994

SID.19400107
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.

AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994

SID.19400422
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.

AIDA:Verdi
Fiore; Sweet, Sylvester, Zajick, Pons, Plishka
Original Air Date: 02/05/1994

SID.19400745
This is a pretty standard house casting for Aida in the 90s. Sweet and Zajick appear in Aida together 14 times over five seasons from 1994-1999. The male contingent holds less interest than in earlier times, Pons has a huge Met career, but not one of much interest to me.

DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430102
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.

DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430529
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.

DEATH IN VENICE:Britten
Atherton; Rolfe Johnson, Allen, Gall, von Aroldingen,
Original Air Date: 02/26/1994
MOD Audio
SID.19430749
The production, shared with Covent Garden in London, where it was presented in 1992, is by the same English team that first staged the opera, in 1973 at the Maltings, near Britten’s home in Suffolk, and later at Covent Garden and the Met: Colin Graham, director; John Piper (who has since died), set designer, and Charles Knode, costume designer. Yet this is no revival. In fact, the old production no longer exists; the original sets were destroyed by fire, and the costumes are in rags. Mr. Graham sets the opera in a black box, like the inside of a camera whose iris opens to reveal images inside Aschenbach’s mind. A hanging gloom of black velour pervades the stage. Images are projected on a central screen and, to stress the theme of fragmentation, deconstructed into abstract parts on side screens framed by reflective pillars. In recreating the costumes from Mr. Knode’s original sketches, Hilary Philpot of Covent Garden eliminated the many stylistic references to the 70’s that had crept in, along with the use of synthetic fabrics. Most of the singers have only one costume, and the Edwardian suits, for men and women, are made with couture perfection of linen, silk or cotton in off-white or pale colors that can be bleached out by the lights. They are transformed by multiple accessories, including more than 80 hats that are pure fantasies of the millinery profession, many in a kind of diaphanous lampshade parchment. The most important costume of all, Aschenbach’s suit, was originally made of a beige linen that is no longer manufactured. Tadzio’s mother is dressed in green rather than the former grays and blues, though her hat retains the famous plumes. (from NYTIMES Feb. 6, 1994) Both Met revivals, the original with Peter Pears from 1974 and this 1994 revival are available in MOoD.

RUSALKA:Dvorák
Fiore; Benacková, Heppner, Martin, Toczyska, Koptchak
Original Air Date: 12/11/1993
MOD Audio
SID.19440208
This is from the first Met season for Rusalka and Benackova is a worthy heroine. For the broadcast a young Ben Heppner is the Prince replacing Neil Rosenshein. Zajick did the Jezibaba premiere but ceded the broadcast to Toczyska who is a very fine artist. This is quite a wonderful performance with Benackova, Heppner, and Koptchak especially strong. This premiere Met season of it, the ensemble is of high quality. This is a performance that belongs in MOoD. This is its only broadcast until Fleming’s 2009 run where three performances were on Sirius, and one of them was in the matinee series on the Met International network. Benackova was the first broadcast Rusalka at the Met, and this performance captures her very well. Heppner early in his Met career is on fine form as is the lesser known Koptchak as the Water Sprite. Martin is a bit tested as the Foreign Princess– a very difficult part, no one makes it sound easy. Still, a lovely opera in a fine performance, and this is well deserving being added to the Met Player repertory besides its visibility on Sirius.

RUSALKA:Dvorák
Fiore; Benacková, Heppner, Martin, Toczyska, Koptchak
Original Air Date: 12/11/1993
MOD Audio
SID.19440424
This is from the first Met season for Rusalka and Benackova is a worthy heroine. For the broadcast a young Ben Heppner is the Prince replacing Neil Rosenshein. Zajick did the Jezibaba premiere but ceded the broadcast to Toczyska who is a very fine artist. This is quite a wonderful performance with Benackova, Heppner, and Koptchak especially strong. This premiere Met season of it, the ensemble is of high quality. This is a performance that belongs in MOoD. This is its only broadcast until Fleming’s 2009 run where three performances were on Sirius, and one of them was in the matinee series on the Met International network. Benackova was the first broadcast Rusalka at the Met, and this performance captures her very well. Heppner early in his Met career is on fine form as is the lesser known Koptchak as the Water Sprite. Martin is a bit tested as the Foreign Princess– a very difficult part, no one makes it sound easy. Still, a lovely opera in a fine performance, and this is well deserving being added to the Met Player repertory besides its visibility on Sirius.

RUSALKA:Dvorák
Fiore; Benacková, Heppner, Martin, Toczyska, Koptchak
Original Air Date: 12/11/1993
MOD Audio
SID.19440424
This is from the first Met season for Rusalka and Benackova is a worthy heroine. For the broadcast a young Ben Heppner is the Prince replacing Neil Rosenshein. Zajick did the Jezibaba premiere but ceded the broadcast to Toczyska who is a very fine artist. This is quite a wonderful performance with Benackova, Heppner, and Koptchak especially strong. This premiere Met season of it, the ensemble is of high quality. This is a performance that belongs in MOoD. This is its only broadcast until Fleming’s 2009 run where three performances were on Sirius, and one of them was in the matinee series on the Met International network. Benackova was the first broadcast Rusalka at the Met, and this performance captures her very well. Heppner early in his Met career is on fine form as is the lesser known Koptchak as the Water Sprite. Martin is a bit tested as the Foreign Princess– a very difficult part, no one makes it sound easy. Still, a lovely opera in a fine performance, and this is well deserving being added to the Met Player repertory besides its visibility on Sirius.

LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450103
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.

LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450422
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.

LE NOZZE DI FIGARO:Mozart
Rudel; Morris, McLaughlin, Fleming, Croft, Bunnell
Original Air Date: 02/12/1994
MOD Audio
SID.19450639
This is is Fleming’s first featured broadcast and it’s one of her best roles. The previous broadcast appearance was in the small role of Rosina (Countess) in Ghosts of Versailles. Fleming’s Countess is rarer than you might think. She only has nine performances since her Met debut (in this role) in 1991. This broadcast is only her third. She premieres the new production with Terfel and Bartoli, but only does the telecast (MOD). Rudel is a fine Mozartean with plenty of fine Figaros over at NYCO before moving over to the Met. He is too often underestimated, but he presided over many a fine Figaro at the NYCO before taking up residence at the Met. Morris and McLaughlin are an interesting servant pair and any performance with Senechal is guaranteed some attention. As for missing historic broadcasts, the original Texaco broadcast with Albanese and Pinza from 1940 should certainly be rebroadcast, and the Countesses of Eleanor Steber (five from 1943-50) and Victoria de los Angeles (1952) with the superb Count of Giuseppe Valdengo. Jarmila Novotna is a superb Cherubino on many of those Steber Countesses.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.19470212
I enjoyed seeing Freni in the role, but Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.19470529
I enjoyed seeing Freni in the role, but Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.19470639
I enjoyed seeing Freni in the role, but Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

OTELLO:Verdi
Gergiev; Domingo, Vaness, Leiferkus, Croft
Original Air Date: 04/02/1994

SID.20010317
Vaness’ Desdemona is professional and musical without being especially memorable. In the current controversy [this was over Gergiev’s close support of Putin and around the time of the Onegin opening night, where will Ukraine be in January 2015 when Gergiev is back at the house?] Gergiev was hardly deserving of an Otello production, but he was Joe Volpe’s counterbalance to Levine. His participation here is not a plus. Domingo’s Otello is a known quantity and he’s heard better elsewhere. though surprisingly streaming only features one audio performance and 2 videos; his actual broadcast total from the Met is 2 videos and 4 audios.

OTELLO:Verdi
Gergiev; Domingo, Vaness, Leiferkus, Croft
Original Air Date: 04/02/1994

SID.20010533
Vaness’ Desdemona is professional and musical without being especially memorable. In the current controversy [this was over Gergiev’s close support of Putin and around the time of the Onegin opening night, where will Ukraine be in January 2015 when Gergiev is back at the house?] Gergiev was hardly deserving of an Otello production, but he was Joe Volpe’s counterbalance to Levine. His participation here is not a plus. Domingo’s Otello is a known quantity and he’s heard better elsewhere. though surprisingly streaming only features one audio performance and 2 videos; his actual broadcast total from the Met is 2 videos and 4 audios.

OTELLO:Verdi
Gergiev; Domingo, Vaness, Leiferkus, Croft
Original Air Date: 04/02/1994

SID.20020101
Vaness’ Desdemona is professional and musical without being especially memorable. In the current controversy [this was over Gergiev’s close support of Putin and around the time of the Onegin opening night, where will Ukraine be in January 2015 when Gergiev is back at the house?] Gergiev was hardly deserving of an Otello production, but he was Joe Volpe’s counterbalance to Levine. His participation here is not a plus. Domingo’s Otello is a known quantity and he’s heard better elsewhere. though surprisingly streaming only features one audio performance and 2 videos; his actual broadcast total from the Met is 2 videos and 4 audios.

ARIADNE AUF NAXOS:Strauss
Levine; Voigt, Schmidt, Dahl, Stratas, Prey, Oswald
Original Air Date: 04/23/1994

SID.20050210
Voigt is in very fresh voice here, but Schmidt and Dahl are not to my taste, and I think Stratas over sings the part of Composer. Better to hear the 1979 performance with one of Gruberova’s only 2 Met broadcasts with Kollo, Troyanos, and Johanna Meier in the title role.

ARIADNE AUF NAXOS:Strauss
Levine; Voigt, Schmidt, Dahl, Stratas, Prey, Oswald
Original Air Date: 04/23/1994

SID.20050426
Voigt is in very fresh voice here, but Schmidt and Dahl are not to my taste, and I think Stratas over sings the part of Composer. Better to hear the 1979 performance with one of Gruberova’s only 2 Met broadcasts with Kollo, Troyanos, and Johanna Meier in the title role.

ARIADNE AUF NAXOS:Strauss
Levine; Voigt, Schmidt, Dahl, Stratas, Prey, Oswald
Original Air Date: 04/23/1994

SID.20050642
Voigt is in very fresh voice here, but Schmidt and Dahl are not to my taste, and I think Stratas over sings the part of Composer. Better to hear the 1979 performance with one of Gruberova’s only 2 Met broadcasts with Kollo, Troyanos, and Johanna Meier in the title role.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.20080208
Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.20080424
Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

ADRIANA LECOUVREUR:Cilea
Abbado; Freni, Lima, Toczyska, Milnes
Original Air Date: 03/19/1994

SID.20080641
Fedora turned out to be a much more congenial role for her late period. Tocyzyska is always an alert performer.

I LOMBARDI:Verdi
Levine; Flanigan, Pavarotti, Beccaria, Plishka
Original Air Date: 01/15/1994
MOD Audio
SID.20120211
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.

I LOMBARDI:Verdi
Levine; Flanigan, Pavarotti, Beccaria, Plishka
Original Air Date: 01/15/1994
MOD Audio
SID.20120427
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.

I LOMBARDI:Verdi
Levine; Flanigan, Pavarotti, Beccaria, Plishka
Original Air Date: 01/15/1994
MOD Audio
SID.20120637
This is the Met’s only broadcast of Lombardi. Pavarotti is in both the December telecast and January broadcast and Ramey was in the premiere and telecast, Plishka in the audio broadcast. Neither Flanigan nor Beccaria are really up to this major assignment. Flanigan except for two Musettas the following fall, disappears from the Met roster. Her contributions to contemporary opera are significant, and she has some excellent work at NYCO, including a fine Lady Macbeth. Both this broadcast and the telecast a month earlier in December are on Met Opera on Demand (MOoD). The telecast was originally to have been Millo, but she left the production shortly after opening night. Ramey did the Met premiere (and telecast), but Plishka is on this broadcast. This broadcast is Beccaria’s Met farewell. Levine, the chorus, Pavarotti, and the bass deliver rather well some of Verdi’s lustiest music, but it’s far from the level of Ernani in terms of finish. In a week’s rotation, Lombardi is an interesting diversion. I Lombardi alla Prima Crociata to use its full name only got to the Met stage with this series of performances. Millo who originated the production was mostly replaced by Flanigan after 2 performances. Beccaria in a major part really is lacking in the face you want. Pavarotti of course gets La mia letizia, one of the great Verdian tenor arias; there is also the unforgettable trio (with violin obbligato) which Levine did for Gniewek as much as for himself. It’s not as good as either Ernani or Macbeth in my view, but several of the choruses are stirring, and with the newly energized Palumbo leadership, the Met could well revive this. The distinctive Pavarotti aside, the soprano and tenor parts could be very reasonably cast today. This performance at hand is also on MetPlayer.

LUCIA DI LAMMERMOOR:Donizetti
Santi; Devia, Hadley, Pons, Plishka
Original Air Date: 01/29/1994

SID.20170216
Devia has not been a frequent Met performer (73 performances over 15 years). This is her final broadcast from the Met (and she has not been at the Met for 18 years w, though still quite active in Europe.) For me she is a much superior Lucia to Dessay, Netrebko, or Swenson, even if she is not in the Sutherland class. Who is? This performance is available on Met Opera on Demand (MOoD).