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 GIOVANNI:Mozart
Hager; Morris, Sweet, Perry, Schuman, Olsen, Hong
Original Air Date: 12/24/1994
SID.19400104
Morris has four broadcast performances of the title role going back to 1974 (all post Siepi of course, who is very much my standard). In a house the size of of the Met I prefer a bass-baritone Don. Hager is a solid conductor and D’Arcangelo is caught at the beginning of his Met career. I like this overall cast better than the two surrounding broadcasts which feature Hampson. We need to hear the 1967 Don Giovanni with Siepi, Sutherland, Lorengar, Gedda, Flagello, Giaiotti under Bohm and also the 1957 Don with Steber and Della Casa at their peak under Bohm, and on MOoD, the video of Sutherland with Morris from 1978 which features Varady on camera for her only Met role.
DON GIOVANNI:Mozart
Hager; Morris, Sweet, Perry, Schuman, Olsen, Hong
Original Air Date: 12/24/1994
SID.19400321
Morris has four broadcast performances of the title role going back to 1974 (all post Siepi of course, who is very much my standard). In a house the size of of the Met I prefer a bass-baritone Don. Hager is a solid conductor and D’Arcangelo is caught at the beginning of his Met career. I like this overall cast better than the two surrounding broadcasts which feature Hampson. We need to hear the 1967 Don Giovanni with Siepi, Sutherland, Lorengar, Gedda, Flagello, Giaiotti under Bohm and also the 1957 Don with Steber and Della Casa at their peak under Bohm, and on MOoD, the video of Sutherland with Morris from 1978 which features Varady on camera for her only Met role.
DON GIOVANNI:Mozart
Hager; Morris, Sweet, Perry, Schuman, Olsen, Hong
Original Air Date: 12/24/1994
SID.19400638
Morris has four broadcast performances of the title role going back to 1974 (all post Siepi of course, who is very much my standard). In a house the size of of the Met I prefer a bass-baritone Don. Hager is a solid conductor and D’Arcangelo is caught at the beginning of his Met career. I like this overall cast better than the two surrounding broadcasts which feature Hampson. We need to hear the 1967 Don Giovanni with Siepi, Sutherland, Lorengar, Gedda, Flagello, Giaiotti under Bohm and also the 1957 Don with Steber and Della Casa at their peak under Bohm, and on MOoD, the video of Sutherland with Morris from 1978 which features Varady on camera for her only Met role.
ORFEO ED EURIDICE:Gluck
Wigglesworth; Hong, Park, Barton
Original Air Date: 10/24/2019
SID.19430428
Mark Morris’s spirited take on the ancient Orpheus myth stars mezzo-soprano Jamie Barton as Orfeo, the grieving lover on a quest through the underworld. Soprano Hei-Kyung Hong sings the plaintive Euridice. Mark Wigglesworth conducts Gluck’s elegant score, a pinnacle of the Baroque repertoire. Production a gift of Mr. and Mrs. Wilmer J. Thomas, Jr.
LA CLEMENZA DI TITO:Mozart
Levine; Rendall, Troyanos, Alexander, Montague, Hong
Original Air Date: 02/14/1987
SID.19470320
Unlike Idomeneo, Levine has totally dominated this opera at the Met, conducting 35 of the 45 performances. This is his second broadcast, and the vocal standout is once again Troyanos. MOoD features Levine’s first in 1985, and his last broadcast in 2005.
LA CLEMENZA DI TITO:Mozart
Levine; Rendall, Troyanos, Alexander, Montague, Hong
Original Air Date: 02/14/1987
SID.19470531
Unlike Idomeneo, Levine has totally dominated this opera at the Met, conducting 35 of the 45 performances. This is his second broadcast, and the vocal standout is once again Troyanos. MOoD features Levine’s first in 1985, and his last broadcast in 2005.
LA CLEMENZA DI TITO:Mozart
Levine; Rendall, Troyanos, Alexander, Montague, Hong
Original Air Date: 02/14/1987
SID.19470746
Unlike Idomeneo, Levine has totally dominated this opera at the Met, conducting 35 of the 45 performances. This is his second broadcast, and the vocal standout is once again Troyanos. MOoD features Levine’s first in 1985, and his last broadcast in 2005.
Mozart
Levine; Kaasch, Troyanos, Alexander, Bunnell, Hong
Original Air Date: 04/20/1991
SID.20040106
I generally prefer Idomeneo to Clemenza di Tito. Troyanos contribution and this is her last of 3 Sesto broadcasts (her 1985 broadcast is on Met Player) also features Roberta Alexander’s farewell Met performance as Vitelia; together they and Levine’s transparent conducting make the afternoon worthwhile..
Mozart
Levine; Kaasch, Troyanos, Alexander, Bunnell, Hong
Original Air Date: 04/20/1991
SID.20040318
I generally prefer Idomeneo to Clemenza di Tito. Troyanos contribution and this is her last of 3 Sesto broadcasts (her 1985 broadcast is on Met Player) also features Roberta Alexander’s farewell Met performance as Vitelia; together they and Levine’s transparent conducting make the afternoon worthwhile..
Mozart
Levine; Kaasch, Troyanos, Alexander, Bunnell, Hong
Original Air Date: 04/20/1991
SID.20040638
I generally prefer Idomeneo to Clemenza di Tito. Troyanos contribution and this is her last of 3 Sesto broadcasts (her 1985 broadcast is on Met Player) also features Roberta Alexander’s farewell Met performance as Vitelia; together they and Levine’s transparent conducting make the afternoon worthwhile..
IDOMENEO:Mozart
Levine; Domingo, Hong, Deshorties, von Otter, Oswald
Original Air Date: 01/26/2002
SID.20060321
This is Levine’s next to last run of Idomeneo at the Met which is 2006 [last]. This 2002 cast whose main feature is Domingo is surpassed by the 1995 version with a stronger supporting cast, and Levine’s 2006 broadcast which features Roschmann and Kozena both excellent as Ilia and Idamante. Deshorties has had not one, but two Elettras, and the part calls for a Vaness (two excellent broadcasts) or Studer (never broadcast from the Met but in a fall series of performances.) Levine’s Mozart is among his very best operatic work. This is Domingo’s and Von Otter’s second Idomeneo broadcast. Domingo made a strong stab at Idomeno, but I think he’s better on the studio version. The 1995 broadcast also has Carol Vaness’s outstanding Elettra, a much more settled affair than Deshorties. Hong is an excellent Ilia in this 2002 outing. Deshorties had a big success at Glimmerglass this summer as Medea, but her Met work doesn’t always succeed.
IDOMENEO:Mozart
Levine; Domingo, Hong, Deshorties, von Otter, Oswald
Original Air Date: 01/26/2002
SID.20060532
This is Levine’s next to last run of Idomeneo at the Met which is 2006 [last]. This 2002 cast whose main feature is Domingo is surpassed by the 1995 version with a stronger supporting cast, and Levine’s 2006 broadcast which features Roschmann and Kozena both excellent as Ilia and Idamante. Deshorties has had not one, but two Elettras, and the part calls for a Vaness (two excellent broadcasts) or Studer (never broadcast from the Met but in a fall series of performances.) Levine’s Mozart is among his very best operatic work. This is Domingo’s and Von Otter’s second Idomeneo broadcast. Domingo made a strong stab at Idomeno, but I think he’s better on the studio version. The 1995 broadcast also has Carol Vaness’s outstanding Elettra, a much more settled affair than Deshorties. Hong is an excellent Ilia in this 2002 outing. Deshorties had a big success at Glimmerglass this summer as Medea, but her Met work doesn’t always succeed.
IDOMENEO:Mozart
Levine; Domingo, Hong, Deshorties, von Otter, Oswald
Original Air Date: 01/26/2002
SID.20060744
This is Levine’s next to last run of Idomeneo at the Met which is 2006 [last]. This 2002 cast whose main feature is Domingo is surpassed by the 1995 version with a stronger supporting cast, and Levine’s 2006 broadcast which features Roschmann and Kozena both excellent as Ilia and Idamante. Deshorties has had not one, but two Elettras, and the part calls for a Vaness (two excellent broadcasts) or Studer (never broadcast from the Met but in a fall series of performances.) Levine’s Mozart is among his very best operatic work. This is Domingo’s and Von Otter’s second Idomeneo broadcast. Domingo made a strong stab at Idomeno, but I think he’s better on the studio version. The 1995 broadcast also has Carol Vaness’s outstanding Elettra, a much more settled affair than Deshorties. Hong is an excellent Ilia in this 2002 outing. Deshorties had a big success at Glimmerglass this summer as Medea, but her Met work doesn’t always succeed.
DON GIOVANNI:Mozart
Levine; Harteros, Hong, Goerke, Turay, Hampson, Pape, Ens, Abdrazakov
Original Air Date: 03/13/2004
SID.20070315
This is a relatively recent broadcast from the previous new production (the Met has had mostly bad luck with all productions after Berman in 1957. ) The casting here is very strong with Harteros a fine Anna (she hardly appears in North America anymore), Pape singing Leporello to a fare thee well and one of the early appearances of Abdrazakov. This is also good exposure for Christine Goerke, who returned to the Met last season as the Dyer’s Wife in Frau ohne Schatten.
DON GIOVANNI:Mozart
Levine; Harteros, Hong, Goerke, Turay, Hampson, Pape, Ens, Abdrazakov
Original Air Date: 03/13/2004
SID.20070423
This is a relatively recent broadcast from the previous new production (the Met has had mostly bad luck with all productions after Berman in 1957. ) The casting here is very strong with Harteros a fine Anna (she hardly appears in North America anymore), Pape singing Leporello to a fare thee well and one of the early appearances of Abdrazakov. This is also good exposure for Christine Goerke, who returned to the Met last season as the Dyer’s Wife in Frau ohne Schatten.
DON GIOVANNI:Mozart
Levine; Harteros, Hong, Goerke, Turay, Hampson, Pape, Ens, Abdrazakov
Original Air Date: 03/13/2004
SID.20070747
This is a relatively recent broadcast from the previous new production (the Met has had mostly bad luck with all productions after Berman in 1957. ) The casting here is very strong with Harteros a fine Anna (she hardly appears in North America anymore), Pape singing Leporello to a fare thee well and one of the early appearances of Abdrazakov. This is also good exposure for Christine Goerke, who returned to the Met last season as the Dyer’s Wife in Frau ohne Schatten.
FIDELIO:Beethoven
Schneider; Meier, Botha, Fink, Salminen, Hong, Clarke
Original Air Date: 12/07/2002
MOD Audio
SID.20110102
Botha sings well enough, as does Fink with Meier and Schneider. Salminen does not appear often outside the Wagner repertory at the Met and this is a particularly congenial role for him. Schneider is not famous as an inspiring conductor. It’s not a weak cast. Available in MOoD
FIDELIO:Beethoven
Schneider; Meier, Botha, Fink, Salminen, Hong, Clarke
Original Air Date: 12/07/2002
MOD Audio
SID.20110318
Botha sings well enough, as does Fink with Meier and Schneider. Salminen does not appear often outside the Wagner repertory at the Met and this is a particularly congenial role for him. Schneider is not famous as an inspiring conductor. It’s not a weak cast. Available in MOoD
FIDELIO:Beethoven
Schneider; Meier, Botha, Fink, Salminen, Hong, Clarke
Original Air Date: 12/07/2002
MOD Audio
SID.20110534
Botha sings well enough, as does Fink with Meier and Schneider. Salminen does not appear often outside the Wagner repertory at the Met and this is a particularly congenial role for him. Schneider is not famous as an inspiring conductor. It’s not a weak cast. Available in MOoD
ORFEO ED EURIDICE:Gluck
Wigglesworth; Hong, Park, Barton
Original Air Date: 11/01/2019
SID.20140644
NYT Tommasini [10/21/2019] … The excellent British conductor Mark Wigglesworth, best known for his work with the English National Opera in London, drew out the warmth and refinement of Gluck’s score. But the Met Orchestra’s playing lacked precision and crispness, especially during the bustling overture, which sounded somewhat wan and limp. …. The veteran soprano Hei-Kyung Hong, who made her Met debut in 1984, was a winning Euridice. Though there were moments of patchy tone and shaky pitch in her singing, the radiance of her voice came through. She sang with a vigor and clarity that brought out the best from Ms. Barton. …During the final celebration of the reunion of Orfeo and Euridice, the Mark Morris ensemble took over the show with a suite of joyous dances. The orchestra responded with its most crisp and animated playing.once the god of love, Amore, here the bright-voiced soprano Hera Hyesang Park, arrived: Winged and wearing a peach-colored shirt, floppy pants and sneakers, she descended (on wires) from the heavens. In her vibrant singing and sassy manner, Ms. Park brought a touch of jaded exuberance to the proceedings: This Amore admits to being baffled by the romantic entanglements of mortals…..The veteran soprano Hei-Kyung Hong, who made her Met debut in 1984, was a winning Euridice. Though there were moments of patchy tone and shaky pitch in her singing, the radiance of her voice came through. She sang with a vigor and clarity that brought out the best from Ms. Barton. During the final celebration of the reunion of Orfeo and Euridice, the Mark Morris ensemble took over the show with a suite of joyous dances. The orchestra responded with its most crisp and animated playing.