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.
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AIDA:Verdi
Original Air Date: 10/06/2018
Luisotti; Netrebko, Rachvelishvili, Antonenko, Kelsey, Belosselskiy, Speedo Green
Live in HDMOD Video SID.19349992
In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Later in the season, a second star-studded cast takes over, with Sondra Radvanovsky and Dolora Zajick as the leading ladies.Tenors Aleksandrs Antonenko and Yonghoon Lee alternate as Radamès, and Nicola Luisotti and Plácido Domingo take the podium for the Met’s monumental production. Production a gift of Mrs. Donald D. Harrington Revival a gift of Viking Cruises
SAMSON ET DALILA:Saint-Saëns
Original Air Date: 10/20/2018
Elder; Garanca, Algana, Naouri, Azizov, Belosselskiy
Live in HDMOD Video SID.19359993
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AIDA:Verdi
Original Air Date: 10/02/2018
Luisotti; Netrebko, Rachvelishvili, Antonenko, Kelsey, Belosselskiy, Green
SID.19350535
In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Later in the season, a second star-studded cast takes over, with Sondra Radvanovsky and Dolora Zajick as the leading ladies.Tenors Aleksandrs Antonenko and Yonghoon Lee alternate as Radamès, and Nicola Luisotti and Plácido Domingo take the podium for the Met’s monumental production. Production a gift of Mrs. Donald D. Harrington Revival a gift of Viking Cruises
LUISA MILLER:Verdi
Original Air Date: 04/14/2018
de Billy; Yoncheva, Beczala, Domingo, Vinogradov, Belosselskiy, Petrova
Live in HD SID.19359997
Plácido Domingo adds yet another role to his legendary Met career in this rarely performed Verdi gem, a heart-wrenching tragedy of fatherly love. Sonya Yoncheva sings the title role opposite Piotr Beczała in the first Met performances of the opera in more than ten years. Bertrand de Billy conducts. Production a gift of Catherine and Ephraim Gildor Revival a gift of Rolex and Mrs. Jayne Wrightsman
DAS RHEINGOLD:Wagner
Original Air Date: 03/14/2019
Jordan; Harmer, Barton, Cargill, Ernst, Siegel, Grimsley, Konieczny, Groissböck, Belosselskiy
SID.19380428
Wagner’s visionary initial installment of the Ring Cycle depicts the original sin of the theft of the sacred golden treasure, the vanity of the gods, the greed of the Nibelungen, the fratricide of the giants, and the building of Valhalla. Bass-baritone Greer Grimsley and baritone Michael Volle share the role of Wotan, the conflicted lord of the gods. Mezzo-soprano Jamie Barton sings her first Wagner role at the Met as Wotan’s embattled wife, Fricka. In collaboration with Ex Machina
SIEGFRIED:Wagner
Original Air Date: 04/13/2019
Jordan; Goerke, Morley, Cargill, Vinke, Siegel, Volle, Konieczny, Belosselskiy
SID.19380640
Review: In the Met’s ‘Siegfried,’ Singers Transcend the Staging – By Joshua Barone April 14, 2019
Pity the opera directors who decide to stage Wagner’s “Ring” — for in doing so they have to figure out what to do with “Siegfried.” The third installment of Wagner’s epic, which returned to the Metropolitan Opera in Robert Lepage’s tech-happy production on Saturday, has tripped up even the smartest of “Ring” directors. Blame the source material: a title role both tedious and impractically difficult; a repetitive libretto sitting somewhere between coming-of-age adventure and dark comedy; a singing dragon. Mr. Lepage’s staging doesn’t do much to help the problems baked into “Siegfried,” a weak spot of the “Ring” that lacks the breakneck pace of “Das Rheingold,” the heart-rending humanity of “Die Walküre” or the textbook-perfect tragedy of “Götterdämmerung.” What it does help, however, is the problem of the 45-ton machine so central to his production as its primary set piece. Instead of relying on the unreliable behemoth to be as kinetic as in the earlier “Ring” operas, Mr. Lepage here treats the machine as more of a canvas for Pedro Pires’s impressive projections. Three-dimensional, interactive videos create the illusion of leaves rustling beneath Siegfried’s feet, of a pond’s surface being truly reflective.
***
But good singers can lift a subpar staging. In this “Siegfried,” they transcend it. Stefan Vinke is making his Met debut in the titular heldentenor role, armed with insouciant high notes and a bright smile. His heroism occasionally veers into howling, and the strain in his voice doesn’t always befit a boyish naïf who knows no fear. (He shares the run with Andreas Schager, who is capable of breezing through the role’s most challenging passages with the shocking ease of Siegfried wrangling a bear.) But Mr. Vinke is a pleasure to watch; he leans into the opera’s comedy — and his character’s ignorance, which often comes off as idiocy. As the scheming Mime, who takes in the orphaned Siegfried in the hope of using the boy’s strength to gain the ring, Gerhard Siegel infused his tenor with venom. Mime’s brother, Alberich, who in “Das Rheingold” commits the original sin of the “Ring,” only returns in “Siegfried” for brief moments in Act II. But those scenes were among the most memorable on Saturday. That’s because Alberich is sung by Tomasz Konieczny, who is also making his Met debut and continues to stand out even among extraordinary colleagues. His resonant bass ricochets off the planks of the machine as he imbues Alberich with dignified authority. His confrontation with Wotan — presented in “Siegfried” as the Wanderer, dressed like a Gandalf of the Wild West and performed by Michael Volle — is a high point of the opera. Or, rather, low: They are both booming basses, equally mighty in a way that illustrates, with only music, how alike these antipodal characters may be.
If women seem absent, it’s because there are so few: the whistle-high Erin Morley as the Woodbird; the solemn Karen Cargill as Erda; and, of course, the fiery soprano Christine Goerke as Brünnhilde. It’s remarkable that anyone in this cast was singing so well in a matinee that began at 11:30 a.m. But Ms. Goerke also had to feign sleep onstage for nearly 20 minutes before letting out a resounding “Heil dir, Sonne!” that penetrated through swelling fortes in the orchestra, crisp and controlled under the baton of Philippe Jordan. Ms. Goerke’s vigor only grew in a crescendo toward all-out majesty in the final scene, a courtship with Mr. Vinke that ended with their leaping into love and matching high C’s. For this climax of old-fashioned operatic thrills, they weren’t even standing on the machine — as if they existed outside Mr. Lepage’s production entirely. @NYTimes
AIDA:Verdi
Luisotti; Netrebko, Rachvelishvili, Antonenko, Kelsey, Belosselskiy, Speedo Green
Original Air Date: 10/06/2018
Live in HDMOD Video
SID.20150107
In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Later in the season, a second star-studded cast takes over, with Sondra Radvanovsky and Dolora Zajick as the leading ladies.Tenors Aleksandrs Antonenko and Yonghoon Lee alternate as Radamès, and Nicola Luisotti and Plácido Domingo take the podium for the Met’s monumental production. Production a gift of Mrs. Donald D. Harrington Revival a gift of Viking Cruises
Verdi
Original Air Date: 04/10/2020
Rizzi; Pérez, Calleja, Álvarez, Azizov, Belosselskiy
SID.20150000
Audience favorite Ailyn Pérez takes on the touching role of Amelia Grimaldi, with legendary baritone Carlos Álvarez returning to the Met for the first time in more than a decade in the title role. Elegant tenor Joseph Calleja is her lover, Gabriele Adorno, and magisterial bass Dmitry Belosselskiy completes the principal cast as Amelia’s grandfather, Jacopo Fiesco. Carlo Rizzi takes the podium for Verdi’s timeless tale of political and family intrigue.
SIMON BOCCANEGRA:Verdi
Original Air Date: 04/18/2020
Rizzi; Pérez, Calleja, Álvarez, Azizov, Belosselskiy
SID.20160000