Lucia in HD

 

Conductor:  Riccardo Frizza Director:  Simon Stone

Enrico Ashton, Lucia's brother:  Artur Ruciński (baritone) Lucia Ashton:  Nadine Sierra (coloratura soprano) Riamondo Bidebent, Lucia's tutor:  Christian Van Horn (bass) Edgardo, Lucia's fiance:  Javier Camarena (tenor)

Host:  Anthony Roth Costanzo

The HD from the Met today was Donizetti's Lucia di Lammermoor in a new production by Simon Stone. It turns out I've already seen two productions by him:  Korngold's Die Tote Stadt from the Bayerische Staatsoper and Saariaho's Innocence from Aix en Provence.  He likes a lot of detail.  Today there was rather an astounding amount of detail, which, surprisingly, seemed to match the libretto.  He likes a small rotating set.  This one represented a small American town with a pawn shop, a church, etc.  There were two cars:  an orange Pinto and a pick up truck. The prop master was interviewed and said there might be about 1000 props.  The presence of cell phones, used rather frequently, places us in a narrow time period.  Thus the confusion when a drive in film of Bob Hope appeared.

It worked for me.  Lucia's brother was a drunk and a drug fiend whose budget is deeply in dept,  thus explaining his need for his sister to marry Arturo instead of Edgardo, the man she loves.

The singing was magnificent.  Nadine has a gorgeous voice, and Javier is one of the best lyric tenors around.  I've seen Ruciński before only in the La Boheme in outer space.  And Christian Van Horn is always wonderful.  The mad scene is often orchestrated for flute, but we were treated to the wonderful glass harmonica.  It seems the ideal sound to portray madness.

The combination of beautiful singing, great acting, and lots of dramatic detail,made this a wonderful performance for me.  And I need to report that the sound in the theater was much better today.

Don Carlos in HD

Conductor -Patrick Furrer

Élisabeth de Valois -Sonya Yoncheva

Eboli -Jamie Barton

Don Carlos -Matthew Polenzani

Rodrigue -Etienne Dupuis

Philippe II - Eric Owens

Grand Inquisitor - John Relyea

Production by David McVicar

Saturday we viewed the live HD performance of the French version of Verdi's Don Carlos. This opera seems to be attempting to imitate reality, so perhaps a little reality is required. This is a calendar of historical events related to the life of Philip II of Spain. 

1527 Philip born 1543 Philip marries Maria Manuela of Portugal 1545 Carlos born, Maria Manuela mother 1545 Maria dies 1545 Elisabeth of Valois born 1554 Philip marries Mary I of England [bloody Mary] becoming her co-regent 1556 Philip becomes King of Spain 1558 Mary dies, Philip returns to Spain 1559 Philip marries Elisabeth of Valois 1568 Elisabeth dies 1568 Carlos dies

1570	Philip marries Anna of Austria
1580	Anna dies
1598	Philip dies

From this we see that Carlos and Elisabeth were about the same age and died at about the same time. Philip was already King of Spain for three years before he married Elisabeth of Valois. So it is unlikely that his coronation took place after he married Elisabeth.

The plot begins when Carlos, who believes he will marry Elisabeth, wishes to meet his future wife and tracks her to the Forest of Fontainebleau, France. They meet and fall in love.  By the end of the scene a political agreement has been reached offstage, and Carlos and Elisabeth find that she is to marry Carlos' father Philip.  This is the context for the rest of the opera, so the story doesn't make much sense if this scene is omitted.

I thought this was a brilliantly and beautifully executed performance.  The story felt right, perhaps for the first time.  This is the most I have liked Sonya Yoncheva whose performance shaped the drama.  I never felt a desire to go home early because it was all so fascinating.

Met season 22-23

I prefer a chronological sequence:

HD date

Medea New Production Luigi Cherubini	Sep 27 - Oct 28	10/22/2022
Idomeneo Wolfgang Amadeus Mozart	Sep 28 - Oct 20
Lady Macbeth of Mtsensk Dmitri Shostakovich	Sep 29 - Oct 21
Tosca Giacomo Puccini	Oct 4 - Apr 15
Peter Grimes Benjamin Britten	Oct 16 - Nov 12
La Traviata Giuseppe Verdi	Oct 25 - Mar 18	11/5/2022
Don Carlo Giuseppe Verdi	Nov 3 - Dec 3	11/19/2022
Rigoletto Giuseppe Verdi	Nov 10 - Dec 29
The Hours New Production Kevin Puts / LIBRETTO BY Greg Pierce	Nov 22 - Dec 15	12/10/2022
Aida Giuseppe Verdi	Dec 2 - May 18
The Magic Flute—Holiday Presentation Wolfgang Amadeus Mozart	Dec 16 - Jan 6
Fedora New Production Umberto Giordano	Dec 31 - Jan 28	1/14/2023
L’Elisir d’Amore Gaetano Donizetti	Jan 10 - Apr 29
Dialogues des Carmélites Francis Poulenc	Jan 15 - Jan 28
Lohengrin New Production Richard Wagner	Feb 26 - Apr 1	3/18/2023
Norma Vincenzo Bellini	Feb 28 - Mar 25
Falstaff Giuseppe Verdi	Mar 12 - Apr 1
Der Rosenkavalier Richard Strauss	Mar 27 - Apr 20	4/15/2023
Champion New Production TERENCE BLANCHARD / LIBRETTO BY Michael Cristofer	Apr 10 - May 13	4/29/2023
La Bohème Giacomo Puccini	Apr 21 - Jun 9
Don Giovanni New Production Wolfgang Amadeus Mozart	May 5 - Jun 2	5/20/2023
Die Zauberflöte New Production Wolfgang Amadeus Mozart	May 19 - Jun 10	6/3/2023
Der Fliegende Holländer Richard Wagner	May 30 - Jun 10

Perhaps I'll post some details later.

Eurydice in HD

 

Eurydice................Erin Morley (soprano)
Orpheus.................Joshua Hopkins (baritone)
Orpheus’s Double....Jakub Józef Orlinski, countertenor 
Father.....................Nathan Berg (baritone)
Hades.....................Barry Banks (tenor)
Little Stone............Stacey Tappan (soprano)
Big Stone...............Ronnita Miller (mezzo)
Loud Stone............Chad Shelton (tenor)

Conductor............Yannick Nézet-Séguin 
Director................Mary Zimmerman 

The opera Eurydice by Matthew Aucoin on a libretto by Sarah Ruhl premiered in Los Angeles in 2020. It's based on a play by Sarah Ruhl and is in English. This is the Orpheus myth from the woman's point of view. It's a preferred topic for operas because it's about the power of music even over the gods. Orpheus can lure the gods into releasing Eurydice from hell. 

We are 20 minutes in and they have violated an important rule: there should be an aria, preferably for the soprano, in the first 10 minutes. So far just talky stuff. They tried all recitative operas at the beginning of opera, but it didn't work out. We go to hell and see Eurydice's father who still remembers life before death and how to read and write. He writes to Eurydice and sings about it. This is the closest we've come to an aria so far. 

Eurydice comes out in her bridal dress, and father watches her while he sinks back into the earth. Orpheus and Eurydice sing their vows, kiss and dance. Hades arrives and he has a conversation with Eurydice over the water cooler. He brings her the letter from her father. For me the lyrical bits don't go on nearly long enough. Eurydice goes off with Hades and Orpheus comes looking for her. 

I'm sorry. This just isn't happening for me.

Fire Shut Up in My Bones in HD

 

Charles, Father's girl friend, Billie, Father

 

Co-Directors:.. James Robinson and Camille A. Brown
Conductor: ......Yannick Nézet-Séguin 

Destiny/Loneliness/Greta:  Angel Blue
Billie, Charles' mother: .....Latonia Moore 
Charles: ...........................Will Liverman 
Char'es-Baby: .................Walter Russell III

Fire Shut Up in My Bones, 2019,  by Terence Blanchard on a libretto by Kasi Lemmons was shown in HD from the Metropolitan Opera today.  I'm sorry.  This didn't happen for me.  The singers were excellent, especially Angel Blue whom I very much admire, but I didn't enjoy the music.  That's the make or break for me.

I have decided to add more comments.  I tend to shy away from cruelty and crime within families.  I don't watch Law and Order SVU because it's all about the personal.  I never go to Madama Butterfly because it is about cruelty in intimacy.  Political and financial crimes don't bother me at all, but people abusing the innocent is just something I would rather not see.  The sexual abuse of children is the worst category.

Boris Godunov in HD

 

Conductor...............Sebastian Weigle
Production..............Stephen Wadsworth 

Boris Godunov...........René Pape 
Prince Shuisky..........Maxim Paster 
Pimen .......................Ain Anger 
Grigory, Dmitry pretender......David Butt Philip 
Varlaam....................Ryan Speedo Green 
Simpleton*..............Miles Mykkanen

We saw in the movie theater the original 1869 version of Mussorgsky's Boris Godunov performed in the critical edition by Michael Rot. This is a different version of the opera than the one we saw in 2010, but the production is the same and the lead singer, René Pape, is also the same. In this version the character Marina does not appear. Here is a calendar for reference. 

1547 Ivan the Terrible tsar 
1552 Boris born 
1557 Feodar I born 
1582 Dmitry of Uglich born 
1584 Ivan died 
1585 Feodar tsar, Boris regent 
1591 Dmitry died 
1598 Feodor died, Boris became tsar 
1605 Boris died 

We may assume the time line for the opera begins when Feodar dies and Boris becomes tsar, and it ends when Boris dies. In real life people pretended to be Dmitry, and that is the basis for the plot. Boris is very reluctant to be tsar, but eventually agrees. Grigory pretends to be Dmitry and a story about how Dmitry didn't appear dead is added to support this. 

But that is the problem with this opera. For those of us who are ignorant of Russian history we have no idea what actually happened. Did Dmitry go off to Lithuania as a child only to reappear after Boris is tsar? Sometimes it seems he did and sometimes it seems he didn't. Boris seems not to have made up his mind whether or not he killed him. It's all rather confused. 

In this version, focused entirely on politics, there is a sameness to it all. I can see why people complained. The production and performances were all excellent, especially our star René Pape. I may have seen this enough.

Porgy and Bess HD Rerun

Conductor...............David Robertson

Porgy...................Eric Owens
Bess....................Angel Blue

I saw Wednesday's rerun of Gershwin's Porgy and Bess from the Metropolitan opera at my local theater.  I didn't enjoy it as much as the last time.  I think the sound in my theater was not adequate to the task of reproducing the voices. 

Three Divas in Concert

 

This charming recital with pianist Vlad Iftinca and guitarist Pablo Sáinz-Villegas comes from the newly refurbished opera house in the Palace of Versailles.  It is courtesy of the Metropolitan Opera.  Thank you, Peter.

The Program 

“Je veux vivre dans ce rêve” From Gounod’s Roméo et Juliette sung by Nadine Sierra.  [I saw Nadine sing this role at the San Francisco Opera.]

“Voi che sapete” From Mozart’s Le Nozze di Figaro sung by Isabel Leonard.[I saw Isabel sing this role in HD from the Met.]

“Ebben? Ne andrò lontana” From Catalani’s La Wally sung by Ailyn Pérez.

“Crudele? ... Non mi dir” From Mozart’s Don Giovanni sung by Nadine Sierra.

“Agitata da due venti” From Vivaldi’s Griselda sung by Isabel Leonard. [I saw Isabel sing this role in Santa Fe.  She was stunning.]

“Stridono lassù” From Leoncavallo’s Pagliacci sung by Ailyn Pérez.

“Belle nuit, ô nuit d’amour” (Barcarolle) From Offenbach’s Les Contes d’Hoffmann sung by Isabel Leonard and Nadine Sierra.

“Prenderò quel brunettino” From Mozart’s Così fan tutte sung by Isabel Leonard and Ailyn Pérez.

“Mira, o Norma ... Sì, fino all’ore estreme” From Bellini’s Norma sung by Nadine Sierra and Ailyn Pérez. [Gorgeous.  Thank you for not reminding me of any version heard before.  Bravi!!]

“Marie Theres’! … Hab’ mir’s gelobt” From R. Strauss’s Der Rosenkavalier   [This is, of course, one of my great loves sung by all three.  These ladies can wail.  I need me some Rosenkavalier.]

Isabel Leonard speaks briefly about their shared Latina heritage before going on to the Latina part of the program.

“Près des remparts de Séville” (Seguidilla) From Bizet’s Carmen sung by Isabel Leonard [Why has she never sung this role?  Or she did and I didn't notice.]

“En medio a mis colores” (Canzonetta spagnuola) By Gioachino Rossini sung by Isabel Leonard

“Me llaman la primorosa” From Giménez’s El Barbero de Sevilla sung by Nadine Sierra.  [Fun]

“Estrellita” By Manuel Ponce sung by Ailyn Pérez.

Ailyn brings on the guitarist and music stands appear.  This entire recital is overflowing with love.  Thank you my dears. They all take off their shoes.

“Bésame Mucho” By Consuelo Velázquez sung by all three in harmony.

“Cielito Lindo” By Quirino Mendoza y Cortés sung by all three in harmony.

So much love.  Wonderful.

Fidelio from the Met

Conductor...............James Levine
Production..............Jürgen Flimm

Leonore.................Karita Mattila
Florestan...............Ben Heppner
Don Pizarro.............Falk Struckmann
Rocco...................René Pape
Marzelline..............Jennifer Welch-Babidge
Jaquino.................Matthew Polenzani
Don Fernando............Robert Lloyd

I think I like this production of Fidelio from 2000 quite a lot.  The cast alone is spectacular.  I have only one question.  Why would Rocco suggest Fidelio as a husband for his daughter when he is clearly already wearing a wedding ring?  Curious.  Rocco isn't at all clownish here.

Fidelio is good with money, so Rocco likes him.  Jaquino is very butch and waves around machine guns.  Yes, we've gone modern here. Why wouldn't Marzelline like Matthew Polenzani?  Does he ever get the girl?

Ben Heppner is glorious, though it is difficult to believe he's starving.  That's opera. I love every note of this piece.  Leonore and Florestan sing O namenlose Freude, the walls open up and Don Fernando arrives.  All is as it should be.  Karita Mattile is wonderful in this, but I would love to see my current obsession in this production.  When they say King, the titles say President.  So maybe this is the American's saving Europe scenario.

It's everything a great Fidelio should be.  Karita says that's her real hair.

BlogThis!Share to XShare to FacebookShare to Pinterest

James Levine has died

The scandal that swirled around the end of James Levine's career at the Met seemed ho hum to me.  Why?  Because I'd heard about it years ago and assumed someone somewhere was protecting him.  When I wrote about him here I was interested mainly in his musical legacy.  I think in the old days it was assumed that there was a lot of fooling around.  I remember a professor at I.U....  

I'm happy with how the Met is now, so Levine's departure has meant a lot less to me than I expected. 

Fedora

Conductor...............Roberto Abbado
Production..............Beppe De Tomasi

Princess Fedora Romazov...Mirella Freni
Count Loris Ipanov..............Plácido Domingo
Countess Olga Sukarev........Ainhoa Arteta
De Siriex..............................Dwayne Croft

Giordano's Fedora streamed from the Met today.  This is from a broadcast from 1997. This production was mounted to celebrate the retirement of Mirella Freni from the opera stage.  She was 62 and sounds glorious.

Freni enters to a wonderful ovation.  Fedora is engaged to be married, and on the eve of her wedding her fiancé is murdered.  This is Act I in Russia. 

In Act II Fedora has followed Ipanov, whom she thinks murdered her fiancé, to Paris.  Her Ipanov is Placido Domingo who is 5 years younger than Freni.  They meet in her house in Paris and seem to fall in love.  Fedora hears that the czar has been shot.  There is a lot of narrative of people explaining things that happened off stage.  The stories are emotional, just the thing for opera.  I can see why an Italian singer like Freni would love this.

In the act break Mayor Giuliani gives Mirella Freni the key to the city.  It's wonderful to see this.  Brava Mirella.

Act III takes place in Switzerland where the Princess has a house.  The whole production is very traditional.  It's not difficult to see why Freni would love this opera.  Her character is on the stage for every scene and experiences a very wide range of emotions.  She is happy, sad, angry, joyous, guilty, despondent and suicidal all in one opera.

The opera is sort of verismo for the upper classes.  They are glorious together to the end.  It is wonderful to see this again.  They do it all for Mirella.  Love.

Cav/Pag

Production..............Franco Zeffirelli
Conductor...............James Levine 

CAVALLERIA RUSTICANA

Santuzza................Tatiana Troyanos
Turiddu.................Plácido Domingo
Lola....................Isola Jones
Alfio...................Vern Shinall
Mamma Lucia.............Jean Kraft

We are celebrating Franco Zeffirelli week from the Metropolitan.  This Zeffirelli production of Mascagni's Cavalleria Rusticana might be a real place.  This is Italy. Perhaps there should be a list. This film, this production, this cast brings you the real thing.  

My favorite of this cast is Tatiana Troyanos, of course.  She is so intense that your heart is stirred. Plácido treats her badly, but she takes her revenge.  It's sad all these old productions are gone.  It's Easter Sunday and everyone is at church, except Santuzza who has been excommunicated.  She confronts people as they go in and out of the church.

PAGLIACCI

Nedda...................Teresa Stratas

Canio...................Plácido Domingo

Tonio...................Sherrill Milnes

Silvio..................Allan Monk

Beppe...................James Atherton

This is just ok.  The set is not particularly interesting after the magnificent summoning of a realistic Italian village in CR.  It's still worth seeing for the great cast.  Milnes does a terrific prologue. I think I prefer the current production of Pagliacci.

 

Les Troyens

 

Conductor...............James Levine
Production..............Fabrizio Melano

Cassandra...............Jessye Norman [Debut]
Coroebus................Allan Monk
Aeneas..................Plácido Domingo
Dido....................Tatiana Troyanos 

 

This performance of Berlioz' Les Troyens at the Metropolitan Opera is from 1983.  Jessye Norman made her Met debut.  There were performances in the run where Jessye played Dido and someone else Cassandra.  She is spectacular as Cassandra.  No one else approaches her.  It is wonderful to see it again.

Berlioz isn't doing what anyone else was doing at his time.  Not Musically and not theatrically.  It is wise to notice he wrote his own libretto.  He loved Virgil's Aenead and based the opera on it. I know the French always treated him with disrespect and perhaps still do.  After all they were the ones who staged the Dido scenes in a mental hospital.  I prefer some semblance of historical setting which we certainly have here.  Both the Met and San Francisco Operas staged it in the last decade, and both achieved triumphs.  But perhaps this one is the greatest of all.  I love it. 

The horse doesn't seem to look like a horse. Cassandra and all the other Trojan women commit suicide at the end of Act II. The effect of this production is just as it should be.  How does all this pompous singing translate to an insane asylum? It's designed to bring status to Dido.  I love this opera and this is a wonderful version. 

Netrebko Recital

Day:

The Program 

“Lilacs,” Op. 21, No. 5 By Sergei Rachmaninoff 

“Before my window,” Op. 26, No. 10 By Sergei Rachmaninoff 

“How fair this spot,” Op. 21, No. 7 By Sergei Rachmaninoff 

“The lark’s song rings more clearly,” Op. 43, No. 1 By Nikolai Rimsky-Korsakov 

“Morgen!” Op. 27, No. 4 By Richard Strauss 

“Il pleure dans mon cœur” By Claude Debussy 

“Depuis le jour” From G. Charpentier’s Louise 

“It was in the early spring,” Op. 38, No. 2 By Pyotr Ilyich Tchaikovsky 

“Tell me, in the shade of the branches,” Op. 57, No. 1 By Pyotr Ilyich Tchaikovsky 

“Mattinata” By Ruggero Leoncavallo 

Night:

“Uzh vecher … Oblakov pomerknuli kraya” From Tchaikovsky’s The Queen of Spades  (duet with Elena Maximova)  [Once upon a time I was the alto in this duet.]

“The clouds begin to scatter,” Op. 42, No. 3 By Nikolai Rimsky-Korsakov 

“Nights of Delirium,” Op. 60, No. 6 By Pyotr Ilyich Tchaikovsky 

“Die Nacht,” Op. 10, No. 3 By Richard Strauss 

“Ständchen,” Op. 17, No. 2 By Richard Strauss 

“Songs my mother taught me” from Gypsy Songs By Antonín Dvořák 

“The Dream,” Op. 8, No. 5 By Sergei Rachmaninoff 

“Belle nuit, ô nuit d’amour” (Barcarolle) From Offenbach’s Les Contes d’Hoffmann (duet with Elena Maximova)

“Amidst the day,” Op. 47, No. 6 By Pyotr Ilyich Tchaikovsky

Languages:  Russian, French, Italian, German, Czech

This is Anna Netrebko's Met recital from Vienna.  They talk a lot about her career at the Met, but my first time with Anna was at the San Francisco Opera in Glinka's Ruslan and Lyudmila in 1995.  This was during the reign of Lotfi Mansouri who brought the production, conductor and cast from Russia for us.  Of course, Anna was the person we noticed most.  We've all been fans ever since.  

She is accompanied by pianist Pavel Nebolsin and is joined in 2 duets with Elena Maximova.  This was hosted by Christine Goerke.

Anna performed this recital as only Anna would.  It was a lot of fun seeing her stroll around and dramatize each song.  The Russian songs are her specialty.  I am a long time fan and look forward to future performances.  It is good to remember that Anna had covid last year.

Met New Years Gala

 

Matthew Polenzani, Pretty Yende, Angel Blue, Javier Camarena

This wonderful Metropolitan Opera Gala concert came to us live from the Parktheater im Kurhaus Göggingen, in Augsburg, Germany.  I used to live near there.

The Program

“Ah! Mes amis ... Pour mon âme” from Donizetti’s La Fille du Régiment
               Javier Camarena    [I came in at the end where he hits the last high C.  Magnificent.]

“Chacun le sait” from Donizetti’s La Fille du Régiment
               Pretty Yende 

“Che gelida manina” from Puccini’s La Bohème
               Matthew Polenzani 

“Sì, mi chiamano Mimì” from Puccini’s La Bohème
               Angel Blue

“O soave fanciulla” from Puccini’s La Bohème 
               Angel Blue, Matthew Polenzani

“Quoi! Vous m’aimez?” from Donizetti’s La Fille du Régiment 
               Pretty Yende, Javier Camarena 

“Bevo al tuo fresco sorriso” from Puccini’s La Rondine 
               Angel Blue, Pretty Yende, Javier Camarena, Matthew Polenzani

“Sì, ritrovarla io giuro” from Rossini’s La Cenerentola
               Javier Camarena

“Una voce poco fa” from Rossini’s Il Barbiere di Siviglia
               Pretty Yende

“La donna è mobile” from Verdi’s Rigoletto
               Matthew Polenzani 

“D’amor sull’ali rosee” from Verdi’s Il Trovatore
               Angel Blue

“Son geloso del zefiro errante” from Bellini’s La Sonnambula
               Pretty Yende, Javier Camarena

“Lippen schweigen” from Lehár’s Die Lustige Witwe
               Angel Blue, Matthew Polenzani    [Perhaps I would like this if Angel was the widow.]

“Mattinata” by Ruggero Leonvacallo
               Pretty Yende, Javier Camarena

“Torna a Surriento” by Ernesto De Curtis
               Angel Blue, Matthew Polenzani

“’O sole mio” by Eduardo di Capua
               Angel Blue, Pretty Yende, Javier Camarena, Matthew Polenzani

“Libiamo, ne’ lieti calici” from Verdi’s La Traviata
               Angel Blue, Pretty Yende, Javier Camarena, Matthew Polenzani

“Auld Lang Syne” (Traditional)
               Angel Blue, Pretty Yende, Javier Camarena, Matthew Polenzani

Very nice.  All my favorite parts.  Lots of duets.  My emotions are getting the better of me.  I need more of all these people.  I sang along to Auld Lang Syne.  Love to all.

__________________________

There has been controversy over this concert.  People argue that Met musicians should have been hired to accompany the singers instead of the Europeans, a pianist and a string ensemble.  The concert took place in Germany.  There would probably be two reasons for this:  1.  Live performances under controlled conditions are allowed in Germany, and 2. The singers are all in Europe where at least occasionally they can get gigs.  Javi is in Monaco and Madrid.  Pretty has been in Barcelona.  Angel will be in Berlin.  Matthew has been in Madrid.  

Other factors concern the accompanying musicians.  It might not be possible for American musicians to just fly in to Germany and play there.  I am not happy about Gelb and his treatment of the marvelous Met orchestra, but I wouldn't have wanted to miss this beautiful concert.

Metropolitan Opera in HD for 2021-2022

Disclaimer.  The contents of this list comes from Opera Wire.  I hope it is accurate.

Oct. 9, 2021 – Boris Godunov by Mussorgsky. The opera will be presented in its original 1869 version which appears to have no role for Marina.  This opera was presented at the Met in the longer version in 2010 in the same production which also starred René Pape in one of his greatest roles.

• Production - Stephen Wadsworth
• Conductor - Sebastian Weigle
• René Pape - Boris
• Alexey Markov
• Stanislav Trofimov
• David Butt Philip
• Ain Anger
• Maxim Paster 

 

 Oct. 23, 2021 – Fire Shut Up in My Bones by Terence Blanchard, libretto by Kasi Lemmons.  This opera had its premier in 2019 at Opera Theater of St. Louis.

• Production- James Robinson and Camille A. Brown
• Conductor- Yannick Nézet-Séguin
• Angel Blue, Destiny/Loneliness/Greta
• Latonia Moore - Billie
• Will Liverman- Charles

 

Dec. 4, 2021 – Eurydice by Matthew Aucoin.  This is a new Orpheus opera having its Met premier.  The world premier was at the LA Opera 2/1/2020 just before everything shut down.

• Production- Mary Zimmerman
• Conductor- Yannick Nézet-Séguin
• Erin Morley _ Eurydice
  
• Joshua Hopkins, baritone - Orpheus
  
• Jakub Józef Orliński, countertenor - Orpheus' alter ego. 

 

Jan. 1, 2022 – Cinderella by Massenet is usually called Cendrillon, but will here be presented in an English-language translation. We had this with the same production in French with Joyce DiDonato in 2018.  This is a shorter, more family oriented version.

• Production- Laurent Pelly
  
• Conductor-Emmanuel Villaume 
  
• Isabel Leonard - Cinderella
  
• Jessica Pratt - Fairy Godmother
  
• Emily D’Angelo - Prince Charming
  
• Stephanie Blythe - MMe
• Laurent Naouri - Pandolfe

 

Jan. 29, 2022 – Rigoletto by Verdi.  No more Rat Pack. This is a new production by Bartlett Sher.  I am so pleased we will all get to hear Quinn Kelsey's wonderful version of Rigoletto.

• Production - Bartlett Sher
• Conductor - Daniele Rustioni
• Rosa Feola - Gilda
  
• Piotr Beczala - Duke
• Quinn Kelsey - Rigoletto

 

March 12, 2022 – Ariadne auf Naxos by Richard Strauss. This is for Lise Davidsen, of course.  I am very happy with this choice.  When Brandon Jovanovich comes out at the end, we will know he is a god.

• Production - Elijah Moshinsky
• Conductor - Marek Janowski
• Lise Davidsen - Ariadne
  
• Brenda Rae - Zerbinetta
  
• Isabel Leonard -  The Composer
  
• Brandon Jovanovich -  Bacchus
  

 

March 26, 2022 – Don Carlos by Verdi.  Met Opera audiences will get a chance to see Verdi’s famed opera in its original French version for the first time in its history. Elina and Sonya were in a version from Paris in 2017.

• Production - David McVicar
  
• Conductor - Yannick Nézet-Séguin
  
• Elina Garanca - Eboli
  
• Matthew Polenzani - Don Carlos 
• Sonya Yoncheva - Elisabeth
  
• Étienne Dupuis - Rodrigue
  
• Günther Groissböck - Philippe II
  
• John Relyea - Grand Inquisitor

 

May 7, 2022 – Turandot by Puccini.  This is the traditional Zeffirelli production, and Anna Netrebko's Met role debut.

• Production - Franco Zeffirelli
• Conductor - Marco Armiliato
• Turandot - Anna Netrebko
• Calaf - Yonghoon Lee
• Liu - Michelle Bradley

 

May 21, 2022 – Lucia di Lammermoor by Donizetti.  This is a new production, but I loved the old one.  The ghost at the fountain was genius.

• Production - Simon Stone
• Conductor - Riccardo Frizza
• Nadine Sierra - Lucia
  
• Artur Rucinski - Enrico
  
• Javier Camarena -  Edgardo
  
• Matthew Rose -  Raimondo

 

June 4, 2022 – Hamlet by Brett Dean which had its world premier at Glyndebourne in 2017.

• Production - Neil Armfield
  
• Conductor - Nicholas Carter
• Brenda Rae - Ophelia
• Rod Gilfry - Claudius
• Allan Clayton -  Hamlet
• Dame Sarah Connolly -  Gertrude
• Sir John Tomlison - Ghost

Our list includes 3 new operas, and new productions of Rigoletto and Lucia di Lammermoor.  In addition we can count the Met premier of the original French version of Verdi's Don Carlos.  This is pretty interesting stuff.

Things we are missing:

Die Meistersinger with Lise Davidsen and Antonio Pappano.  This is something I would really like to see.  Otto Schenk is their current production.  And Tosca with Sondra Radvanovsky.