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 MEISTERSINGER VON NÜRNBERG:Wagner
Schippers; Adam, Lorengar, King, Kusche, Flagello, Driscoll
Original Air Date: 01/15/1972
MOD Audio
SID.19410101
This performance is on Sony’s Met historical CD series Lorengar and King, who do not have commercials of their portrayals are fine exponents of their roles, and Kusche is a long respected Beckmesser. Adam split the Sachs with Tozzi, and at this point Adam was probably the better choice.
MANON:Massenet
López-Cobos; Fleming, Giordano, Chaignaud
Original Air Date: 04/08/2006
MOD Audio
SID.19410102
This is Fleming’s last Manon from the Met and her only full length Met broadcast. Fleming was more interesting in her telecast opening night St. Sulpice scene than here. She is even better in a Paris Opera DVD from the early 2000s with Alvarez. She does not always have an easy time of it at the Met. Alvarez (from Paris, but who opened this run with Fleming) was much better than Giordano (not to be confused with Marcello Giordani who was in Fleming’s first Manons at the Met in 1997 and not broadcast).
CARMEN:Bizet
Mehta; Resnik, Tucker, Raskin, Díaz
Original Air Date: 03/15/1969
SID.19410103
This is Resnik’s only Carmen broadcast, and Mehta is plenty fiery. Although he had premiered the production with Bumbry, the first season broadcast went to Lombard conducting Bumbry with Tucker and Freni). Resnik’s tone, even for Carmen was a bit worn in 1969, but very stylish. Bing almost could not think of Carmen without Tucker. He has four broadcasts during the 1950s and indeed the first two of the new production in 1968 and 1969. My enjoyment of Tucker’s Jose was always limited by the fact that dramatically Domingo and Vickers were far more satisfying. That he sang one more Jose broadcast in 1972– excepting a Domingo replacement for Vickers in 1972 would have had Tucker as the only Jose on the airwaves from 1958 till 1972 (admittedly Bing took Carmen out of the repertoire from 1960-1967). Certainly few other tenors could have supported such an extended string, and been as strong vocally in 1969 as he was in 1952. I like his excellence in other roles more. It is worth noting here that for Tucker’s 99th birthday, there was supposedly some promise of major Sirius broadcasting. Guess Resnik won that battle this week. Raskin is an ordinary Micaela without the magic that attended her Nannetta or her Mozart at City Opera and her career was cut short by illness and an early passing. Diaz is a replacement for the originally scheduled Merrill, and is OK. Mehta (conductor for life of the Israel Philharmonic, though Zoroastrian) makes this a very Kosher Carmen indeed.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410104
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410105
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
L’ASSEDIO DI CORINTO:Rossini
Schippers; Sills, Verrett, Theyard, Díaz
Original Air Date: 04/19/1975
MOD Audio
SID.19410106
The following season also with Sills and Verrett under Woitach) are the Met broadcast history of this problematic Rossini work, and both are on MOoD. Verrett is in top form, but I find Sills too late for these assumptions. I find the work as edited for these performances a jumble and they don’t make this reluctant Rossinian any less so. Barbiere remains a miracle and though done to death, still sparkles.
MACBETH:Verdi
Levine; Milnes, Scotto, Plishka, Jenkins
Original Air Date: 12/18/1982
MOD Audio
SID.19410208
This is the first year of the new production by Peter Hall, which was heavily booed (deservedly– i was there) on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.This is the first year of the new production by Peter Hall, which was heavily booed on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.
THE MAKROPULOS CASE:Janácek
Robertson; Norman, Clark, Hagegård, McIntyre
Original Air Date: 01/20/1996
SID.19410209
This was the cursed production which premiered the opera at the Met a few weeks earlier, and was stopped in minutes due to the death of Richard Versalle. The English version is by Moshinsky (the director), Robertson When the opera is revived two years later, it is in Czech with Malfitano and Mackerras conducting. Norman is sui generis, and so is her performance of this part. This is the premiere season for Makropulos with Norman filling out the Janacek lines (in an English translation partially attributed to her). She sings gloriously, even if it misses some of the angularity inherent in the score. This is one broadcast in a translation that regularly makes it to the airwaves if not MOoD.
THE MAKROPULOS CASE:Janácek
Robertson; Norman, Clark, Hagegård, McIntyre
Original Air Date: 01/20/1996
SID.19410209
This was the cursed production which premiered the opera at the Met a few weeks earlier, and was stopped in minutes due to the death of Richard Versalle. The English version is by Moshinsky (the director), Robertson When the opera is revived two years later, it is in Czech with Malfitano and Mackerras conducting. Norman is sui generis, and so is her performance of this part. This is the premiere season for Makropulos with Norman filling out the Janacek lines (in an English translation partially attributed to her). She sings gloriously, even if it misses some of the angularity inherent in the score. This is one broadcast in a translation that regularly makes it to the airwaves if not MOoD.
LOHENGRIN:Wagner
Levine; Kollo, Lorengar, Dunn, McIntyre, Giaiotti
Original Air Date: 12/04/1976
SID.19410210
This is Kollo’s premiere season at the Met, and this new production had premiered a few weeks before the broadcast. A very fine performance all round with two of my favorite singers, Pilar Lorengar and Bonaldo Giaiotti, bringing some real lyricism to the roles. Also available in MOoD. One of Levine’s very best afternoons.
ARIADNE AUF NAXOS:Strauss
Levine; Norman, King, Battle, Troyanos, Nentwig, Dickson
Original Air Date: 03/12/1988
MOD AudioMOD Video
SID.19410211
This is the audio for the performance issued on DVD, NOT available on MOoD, as are many of the R. Strauss offerings. Battle’s performance is enhanced by the visual. Norman, King, and Troyanos are among the major exponents of their parts in late 20th century.
LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410212
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
ALCESTE:Gluck
Panizza; Bamptom, Maison, Warren
Original Air Date: 03/08/1941
SID.19410213
This is one of the few 1940s broadcasts that gets to Sirius, but neither the 1952 with Flagstad, nor the 1961 with Farrell (both in English) have made it to Sirius. Again, it seems the translation is inhibiting their inclusion. Review of Pitts Sanborn in the World-Telegraph, Mme. Bampton Sings Role of Alceste – Following the present method of frequently changing the allotment of prominent roles, the Metropolitan management offered its third Alceste last evening with a new representative of the name part. After the fiery magnificence of Marjorie Lawrence as Alcestis came the lyric charm of Rose Bampton. Comely, tall and statuesque, Mme. Bampton showed in her carefully studied poses and gestures what pains she had taken to portray the self-sacrificing heroine persuasively to the eye. And in her singing tenderness and pathos found touching expression. Since this was only Mme. Bampton’s first assumption of an inexorably exacting role, we may look for further development later on of its more cogently dramatic aspects. Her voice seems now, under sympathetic guidance, to have found a congenial lyric field. Her tones were often of delightful quality last evening, her phrasing was marked by grace and fine taste and there was always the thought of the accomplished musician. Altogether, Mme. Bampton may be congratulated cordially on her present achievement, which holds the promise of even better things to come. Once more Rene Maison supplied an admirable Admetus. Francesco Valentino replaced the indisposed Leonard Warren as the High Priest of Apollo, singing well apart from an excessive vibrato. The beauty of the tableau at the end of Act II made up in part for the pinchbeck naiveties that met the eye.
SALOME:Strauss
Böhm; Rysanek, Stolze, Dalis, Stewart, MacWherter
Original Air Date: 03/18/1972
SID.19410214
Rysanek’s first Salomes at the Met came after the groundbreaking new production for Nilsson eight years earlier. Longtime Metgoers were still talking about Welitsch from the late 1940s. The best Met Salomes are Welitsch, Nilsson, Bumbry, Marton, and Mattila (first season). Behrens (who has a great studio performance with Karajan). Rysanek was significantly better five years later when Leinsdorf took the reins with Norman Bailey, Astrid Varnay and Ragnar Ulfung; the 1977 performance is available on Met Opera on Demand (MOoD).
LES TROYENS:Berlioz
Levine; Norman, Sooter, Monk, Taillon, Plishka, Ahlstedt
Original Air Date: 02/18/1984
MOD Audio
SID.19410315
Norman repeated Verrett’s double assumption on this broadcast (Verrett’s was for the opening of the production in 1973 when Ludwig was indisposed–I was there, quite an evening). I rather prefer Norman’s Didon to her Cassandre, but this broadcast now takes its place in MOoD. Enee is close to an impossible part, but Sooter is no worse than Ronald Dowd was in Boston for Caldwell.
L’ASSEDIO DI CORINTO:Rossini
Schippers; Sills, Verrett, Theyard, Díaz
Original Air Date: 04/19/1975
MOD Audio
SID.19410316
The following season also with Sills and Verrett under Woitach) are the Met broadcast history of this problematic Rossini work, and both are on MOoD. Verrett is in top form, but I find Sills too late for these assumptions. I find the work as edited for these performances a jumble and they don’t make this reluctant Rossinian any less so. Barbiere remains a miracle and though done to death, still sparkles.
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TURANDOT:Puccini
Nézet-Séguin; Goerke, Buratto, Aronica, Morris
Original Air Date: 10/09/2019
SID.19410317
NYTIMES (Tommasini): Mr. Nézet-Séguin led an exciting and insightful account of Puccini’s “Turandot,” a revival of Franco Zeffirelli’s glittering, over-the-top and popular 1987 production. The strong cast was headed by the blazing soprano Christine Goerke as Puccini’s icy Princess Turandot, the ardent tenor Yusif Eyvazov as Calaf, and the plush-voiced soprano Eleonora Buratto as Liù. The chorus, during the crowd scenes, sounded superb. What stood out, though, was the textured, tart and lushly beautiful playing Mr. Nézet-Séguin drew from the orchestra. He seemed intent on making a case for Puccini’s final opera, first performed in 1926, nearly two years after the composer’s death, as a musically daring score — as contemporary, in its way, as any other opera of the 1920s.
CARMEN:Bizet
Mehta; Resnik, Tucker, Raskin, Díaz
Original Air Date: 03/15/1969
SID.19410318
This is Resnik’s only Carmen broadcast, and Mehta is plenty fiery. Although he had premiered the production with Bumbry, the first season broadcast went to Lombard conducting Bumbry with Tucker and Freni). Resnik’s tone, even for Carmen was a bit worn in 1969, but very stylish. Bing almost could not think of Carmen without Tucker. He has four broadcasts during the 1950s and indeed the first two of the new production in 1968 and 1969. My enjoyment of Tucker’s Jose was always limited by the fact that dramatically Domingo and Vickers were far more satisfying. That he sang one more Jose broadcast in 1972– excepting a Domingo replacement for Vickers in 1972 would have had Tucker as the only Jose on the airwaves from 1958 till 1972 (admittedly Bing took Carmen out of the repertoire from 1960-1967). Certainly few other tenors could have supported such an extended string, and been as strong vocally in 1969 as he was in 1952. I like his excellence in other roles more. It is worth noting here that for Tucker’s 99th birthday, there was supposedly some promise of major Sirius broadcasting. Guess Resnik won that battle this week. Raskin is an ordinary Micaela without the magic that attended her Nannetta or her Mozart at City Opera and her career was cut short by illness and an early passing. Diaz is a replacement for the originally scheduled Merrill, and is OK. Mehta (conductor for life of the Israel Philharmonic, though Zoroastrian) makes this a very Kosher Carmen indeed.
LE NOZZE DI FIGARO:Mozart
Leinsdorf; Siepi, Peters, Amara, Borg, Miller
Original Air Date: 01/28/1961
SID.19410319
This performance was also issued in Sony’s Historical series on CD, but strikingly not in the Met Opera on Demand (MOoD) which features a performance from the season before with the same conductor, Figaro, Count, and Cherubino. Della Casa is swapped with Amara and Soderstrom (as Susanna) is swapped with Peters. Siepi is the chief attraction here. His Figaro is represented by 3 other Nozze performances, but strangely his Mephisto only has one streaming representation, but neither Bjorling (1950, 1959) nor a strong cast for his last turn at the microhones in 1969.
MANON:Massenet
López-Cobos; Fleming, Giordano, Chaignaud
Original Air Date: 04/08/2006
MOD Audio
SID.19410321
This is Fleming’s last Manon from the Met and her only full length Met broadcast. Fleming was more interesting in her telecast opening night St. Sulpice scene than here. She is even better in a Paris Opera DVD from the early 2000s with Alvarez. She does not always have an easy time of it at the Met. Alvarez (from Paris, but who opened this run with Fleming) was much better than Giordano (not to be confused with Marcello Giordani who was in Fleming’s first Manons at the Met in 1997 and not broadcast).
THE MAKROPULOS CASE:Janácek
Robertson; Norman, Clark, Hagegård, McIntyre
Original Air Date: 01/20/1996
SID.19410422
This was the cursed production which premiered the opera at the Met a few weeks earlier, and was stopped in minutes due to the death of Richard Versalle. The English version is by Moshinsky (the director), Robertson When the opera is revived two years later, it is in Czech with Malfitano and Mackerras conducting. Norman is sui generis, and so is her performance of this part. This is the premiere season for Makropulos with Norman filling out the Janacek lines (in an English translation partially attributed to her). She sings gloriously, even if it misses some of the angularity inherent in the score. This is one broadcast in a translation that regularly makes it to the airwaves if not MOoD.
ALCESTE:Gluck
Panizza; Bamptom, Maison, Warren
Original Air Date: 03/08/1941
SID.19410423
This is one of the few 1940s broadcasts that gets to Sirius, but neither the 1952 with Flagstad, nor the 1961 with Farrell (both in English) have made it to Sirius. Again, it seems the translation is inhibiting their inclusion. Review of Pitts Sanborn in the World-Telegraph, Mme. Bampton Sings Role of Alceste – Following the present method of frequently changing the allotment of prominent roles, the Metropolitan management offered its third Alceste last evening with a new representative of the name part. After the fiery magnificence of Marjorie Lawrence as Alcestis came the lyric charm of Rose Bampton. Comely, tall and statuesque, Mme. Bampton showed in her carefully studied poses and gestures what pains she had taken to portray the self-sacrificing heroine persuasively to the eye. And in her singing tenderness and pathos found touching expression. Since this was only Mme. Bampton’s first assumption of an inexorably exacting role, we may look for further development later on of its more cogently dramatic aspects. Her voice seems now, under sympathetic guidance, to have found a congenial lyric field. Her tones were often of delightful quality last evening, her phrasing was marked by grace and fine taste and there was always the thought of the accomplished musician. Altogether, Mme. Bampton may be congratulated cordially on her present achievement, which holds the promise of even better things to come. Once more Rene Maison supplied an admirable Admetus. Francesco Valentino replaced the indisposed Leonard Warren as the High Priest of Apollo, singing well apart from an excessive vibrato. The beauty of the tableau at the end of Act II made up in part for the pinchbeck naiveties that met the eye.
ARIADNE AUF NAXOS:Strauss
Levine; Norman, King, Battle, Troyanos, Nentwig, Dickson
Original Air Date: 03/12/1988
MOD AudioMOD Video
SID.19410424
This is the audio for the performance issued on DVD, NOT available on MOoD, as are many of the R. Strauss offerings. Battle’s performance is enhanced by the visual. Norman, King, and Troyanos are among the major exponents of their parts in late 20th century.
MACBETH:Verdi
Levine; Milnes, Scotto, Plishka, Jenkins
Original Air Date: 12/18/1982
MOD Audio
SID.19410425
This is the first year of the new production by Peter Hall, which was heavily booed (deservedly– i was there) on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.This is the first year of the new production by Peter Hall, which was heavily booed on its opening night. There is a second year of the production with the cast repeating except with Ciannella for Jenkins. Scotto never had the right voice for the part, and though Deutekom was a very successful Lady Macbeth (not at the Met) she had a knife edge upper register which was not Scotto’s. Milnes is almost two decades into his Met career, and he is better heard earlier with Arroyo (one of the most securely vocalized of Lady Macbeths in Met history; she was not especially memorable dramatically, but Verdi’s notes are well honored.) Met Macbeths with Netrebko , Rysanek (first season especially), and Dalis (despite a very wayward D flat) are all to be preferred to Scotto’s effort.
LOHENGRIN:Wagner
Levine; Kollo, Lorengar, Dunn, McIntyre, Giaiotti
Original Air Date: 12/04/1976
SID.19410426
This is Kollo’s premiere season at the Met, and this new production had premiered a few weeks before the broadcast. A very fine performance all round with two of my favorite singers, Pilar Lorengar and Bonaldo Giaiotti, bringing some real lyricism to the roles. Also available in MOoD. One of Levine’s very best afternoons.
ARIADNE AUF NAXOS:Strauss
Levine; Norman, King, Battle, Troyanos, Nentwig, Dickson
Original Air Date: 03/12/1988
MOD AudioMOD Video
SID.19410427
This is the audio for the performance issued on DVD, NOT available on MOoD, as are many of the R. Strauss offerings. Battle’s performance is enhanced by the visual. Norman, King, and Troyanos are among the major exponents of their parts in late 20th century.
LA FORZA DEL DESTINO:Verdi
Stiedry; Milanov, Tucker, Warren, Siepi, Elias, Corena
Original Air Date: 03/17/1956
MOD Audio
SID.19410428
The A list male casting for this opera in the 1950s at the Met was Tucker, Warren, and Siepi. This is the only broadcast where all three gentlemen (who premiered the new production on opening night of the 1952 season. Milanov certainly had the voice for the Forza Leonora, but as others have noted she is not a young woman in the 1950s, and she could be uneven in a single afternoon. Her current competition is non-existent. Paul Jackson broadcast reviews on this performance, aresilent (he is particularly strong on singers he heard often). Though this has been on before, this is a must listen.
Various:Various
Various Artists
Original Air Date: 01/01/9999
SID.19410529
Two of opera’s most thrilling dramatic sopranos, Christine Goerke and Nina Stemme, reprise their fierce portrayals of the title princess. Yannick Nézet-Séguin takes the podium to conduct Franco Zeffirelli’s dazzling production of Puccini’s final masterpiece, which also features tenors Yusif Eyvazov and Riccardo Massi as Calàf, sopranos Eleonora Buratto and Hibla Gerzmava as Liù, and bass-baritone James Morris as Timur.