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.
DIE ZAUBERFLÖTE:Mozart
Original Air Date: 01/22/1977
Conlon; Valente, Burrows, Uppman, Shane, Plishka
SID.19340530
This Zauberfloete features old and new performers in a well-balanced performance. The conductor, James Conlon, was in his debut engagement; and the Sarastro, Paul Plishka, was doing his only series in the role (one of his first major roles). The talented Benita Valente was especially noted for her Mozart roles. On the lesser known and underappreciated front, we have a sparkling Rita Shane as the Queen of the Night. Finally, on the veteran front, we have Theodore Uppman, doing the last of his 60 Papagenos at the Met. Maybe most notable for a future Broadway composer Adam Guettel (RRodgers’ grandson) as one of the Genie. All in all, an enjoyable Mozart outing.
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420742
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420531
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
FALSTAFF:Verdi
Levine; MacNeil, Lear, Stewart, Barbieri, Valente, Ahlstedt
Original Air Date: 04/05/1975
MOD Audio
SID.19420742
This performance is Levine’s first Falstaff broadcast and Barbieri’s penultimate company broadcast (she returns for Trittico (minus Frugola) 2 years later. MacNeil is a very good Falstaff which I think is his only run in the part– he is a stellar Ford on a Chicago broadcast with Gobbi in 1958. Lear is in better form than her husband — Stewart is not really a Verdian, and the monologue is among the showiest music in the opera.
IDOMENEO:Mozart
Levine; Lewis, Valente, Behrens, von Stade, Alexander
Original Air Date: 01/15/1983
SID.20130216
RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.
IDOMENEO:Mozart
Levine; Lewis, Valente, Behrens, von Stade, Alexander
Original Air Date: 01/15/1983
SID.20130426
RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.
IDOMENEO:Mozart
Levine; Lewis, Valente, Behrens, von Stade, Alexander
Original Air Date: 01/15/1983
SID.20130753
RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.RWW: This is the first of two Valente Ilia broadcasts, and she is excellent. Behrens’ Elettra is not to my taste. Both Vaness and Studer are much more to my liking. Levine does very fine work here and deserves credit for solidly putting this work in the Met repertory. Valente is under-represented on MOoD (only Nanetta in Falstaff) and still catches the ensemble in its first year of the new production.