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.
IL BARBIERE DI SIVIGLIA:Rossini
Varviso; Herlea, Grist, Shirley, Corena, Siepi
Original Air Date: 03/19/1966
MOD Audio
SID.20120208
This is Reri Grist’s debut year, and the broadcast comes three weeks later. Herlea had some success debuting in Don Carlo two years earlier. One does not get better than Corena and Siepi in these roles. As Barbieres go, this one is not bad. Corena and Siepi are absolute masters in these roles, and the rest of the cast is good to very good– Grist has made her debut a few weeks before this broadcast. Varviso has an excellent studio Barbiere with Berganza, but this is a fine cast, which in the case of Corena and Siepi is not surpassed. Herlea is not as impressive here as in his Rodrigo (Don Carlo) but still a decent Figaro. I prefer a mezzo Rosina, but Grist is a fine singer and under-represented.
IL BARBIERE DI SIVIGLIA:Rossini
Varviso; Herlea, Grist, Shirley, Corena, Siepi
Original Air Date: 03/19/1966
MOD Audio
SID.20120424
This is Reri Grist’s debut year, and the broadcast comes three weeks later. Herlea had some success debuting in Don Carlo two years earlier. One does not get better than Corena and Siepi in these roles. As Barbieres go, this one is not bad. Corena and Siepi are absolute masters in these roles, and the rest of the cast is good to very good– Grist has made her debut a few weeks before this broadcast. Varviso has an excellent studio Barbiere with Berganza, but this is a fine cast, which in the case of Corena and Siepi is not surpassed. Herlea is not as impressive here as in his Rodrigo (Don Carlo) but still a decent Figaro. I prefer a mezzo Rosina, but Grist is a fine singer and under-represented.
IL BARBIERE DI SIVIGLIA:Rossini
Varviso; Herlea, Grist, Shirley, Corena, Siepi
Original Air Date: 03/19/1966
MOD Audio
SID.20120535
This is Reri Grist’s debut year, and the broadcast comes three weeks later. Herlea had some success debuting in Don Carlo two years earlier. One does not get better than Corena and Siepi in these roles. As Barbieres go, this one is not bad. Corena and Siepi are absolute masters in these roles, and the rest of the cast is good to very good– Grist has made her debut a few weeks before this broadcast. Varviso has an excellent studio Barbiere with Berganza, but this is a fine cast, which in the case of Corena and Siepi is not surpassed. Herlea is not as impressive here as in his Rodrigo (Don Carlo) but still a decent Figaro. I prefer a mezzo Rosina, but Grist is a fine singer and under-represented.
DON PASQUALE:Donizetti
Varviso; Corena, Peters, Alva, Guarrera
Original Air Date: 01/09/1965
MOD Audio
SID.20130317
RWW: For me the stars of this broadcast are the matchless Corena and Peruvian tenor Luigi Alva. Alva is still with us and remains much beloved in his home country as well. In terms of style and stage presence, Alva yielded nothing to his more famous successors as Ernesto Alfredo Kraus and fellow Peruvian Juan Diego Florez. Corena shows up again five years later with Reri Grist and Kraus under Carlo Franci. Luckily both performances are in MOoD.
DON PASQUALE:Donizetti
Varviso; Corena, Peters, Alva, Guarrera
Original Air Date: 01/09/1965
MOD Audio
SID.20130536
RWW: For me the stars of this broadcast are the matchless Corena and Peruvian tenor Luigi Alva. Alva is still with us and remains much beloved in his home country as well. In terms of style and stage presence, Alva yielded nothing to his more famous successors as Ernesto Alfredo Kraus and fellow Peruvian Juan Diego Florez. Corena shows up again five years later with Reri Grist and Kraus under Carlo Franci. Luckily both performances are in MOoD.
DON PASQUALE:Donizetti
Varviso; Corena, Peters, Alva, Guarrera
Original Air Date: 01/09/1965
MOD Audio
SID.20130754
RWW: For me the stars of this broadcast are the matchless Corena and Peruvian tenor Luigi Alva. Alva is still with us and remains much beloved in his home country as well. In terms of style and stage presence, Alva yielded nothing to his more famous successors as Ernesto Alfredo Kraus and fellow Peruvian Juan Diego Florez. Corena shows up again five years later with Reri Grist and Kraus under Carlo Franci. Luckily both performances are in MOoD.
LA SONNAMBULA:Bellini
Varviso; Sutherland, Gedda, Flagello, Scovotti
Original Air Date: 03/30/1963
SID.20140105
This is stellar singing from one and all, and is available along with her second Met Sonnambula broadcast from 1968 in MOoD. I was lucky to see Sutherland from her very first USA appearance in Alcina (Dallas,1960) and lucky was I to enjoy such stellar performing for more than a quarter century. Other singers may have a more introspective approach to Sonnambula, but La Stupenda offers something different, and nowhere to be found in opera houses today.
![]("https://lh3.googleusercontent.com/proxy/BMM0NaZMZf1oQKx4RxseytkBrxcj2-oTLAUVOQtmyFQa85iC5a7a8Z8tiBUH87NN0zeE_n9lezeymfBzXhcXU3IrUsxz0fZjUdy9NiB8fQ)
Varviso; Sutherland, Gedda, Flagello, Scovotti
Original Air Date: 03/30/1963
SID.20140323
This is stellar singing from one and all, and is available along with her second Met Sonnambula broadcast from 1968 in MOoD. I was lucky to see Sutherland from her very first USA appearance in Alcina (Dallas,1960) and lucky was I to enjoy such stellar performing for more than a quarter century. Other singers may have a more introspective approach to Sonnambula, but La Stupenda offers something different, and nowhere to be found in opera houses today.
LA SONNAMBULA:Bellini
Varviso; Sutherland, Gedda, Flagello, Scovotti
Original Air Date: 03/30/1963
SID.20140642
This is stellar singing from one and all, and is available along with her second Met Sonnambula broadcast from 1968 in MOoD. I was lucky to see Sutherland from her very first USA appearance in Alcina (Dallas,1960) and lucky was I to enjoy such stellar performing for more than a quarter century. Other singers may have a more introspective approach to Sonnambula, but La Stupenda offers something different, and nowhere to be found in opera houses today.
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.
LES CONTES D’HOFFMANN:Offenbach
Varviso; Alexander, Dooley, Scovotti, Cvejic, Amara, Martin
Original Air Date: 02/27/1965
SID.20150753
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.