The late and incredibly talented baritone Dmitri Hvorostovsky is celebrated in Week 50 at the Met. All seven productions feature him.
There are two unique things about this week’s line-up that stand out. First is that the week begins and ends with productions of Verdi’s Il Trovatore. The first is from April 2011 and the second production is from 2015. Tchaikovsky’s The Queen of Spades, in a production from 1999, is having its first showing. This is a revival of the same production in which Hvorostovsky made his Metropolitan Opera production four years earlier.
I had the privilege of seeing Hvorostovsky in a recital at the Dorothy Chandler Pavilion in 2011 presented by LA Opera. Amongst the encores was a Siberian folksong entitled Farewell, Happiness. It was a remarkable evening of music and one I will never forget. His choice of encores would prove sadly prophetic a little more than four years later.
In June of 2015 he was diagnosed with a brain tumor. That would turn out to be cancerous and he succumbed to the disease in 2017.
Before we get into the operas that make up Week 50 at the Met, I want to share with you this surprise performance he gave at the Met Gala in 2017.
All productions become available at 7:30 PM EST/4:30 PM PST and remain available for 23 hours. Schedules and timings may be subject to change.
The Met is heavily promoting their Met Stars Live in Concert series and the planned resumption of performances in the 2021-2022 season, so you’ll have to go past those announcements and promos to find the streaming productions on the Metropolitan Opera website.
If you read this column early enough on February 22nd, you might still have time to catch the 2009-2010 production of Turandot by Giacomo Puccini that concludes Franco Zeffirelli week at the Met.
Here is the full line-up of Week 50 at the Met. I strongly encourage you to check out as many of these productions as you can.
Monday, February 22 – Verdi’s Il Trovatore
Conducted by Marco Armiliato; starring Sondra Radvanovsky, Dolora Zajick, Marcelo Álvarez and Dmitri Hvorostovsky. This revival of the 2009 David McVicar production is from the 2010-2011 season. This is an encore presentation of the production that was previously made available July 30th, November 23rd and January 10th.
Giuseppe Verdi’s Il Trovatore is based on the play El trovador by Antonio García Gutiérrez published in 1836. The libretto was written by Salvadore Cammarano with additions by Leone Emanuele Badare. The opera had its world premiere in Rome in 1853.
The setting is Zaragoza, the capital of the Kingdom of Aragon, circa 1412. To offer up a quick synopsis here would be a fool’s game to play. Several stories happen simultaneously and sometimes share the same characters. The opera has rarely been hailed for its story, but it certainly ranks as one of Verdi’s finest compositions.
If you think I was a bit unfair about the plot in Il Trovatore, let me share with you what Zachary Woolfe said at the start of his review of this production in the New York Times:
“With its cackling Gypsies, mistaken identities and secret brothers, the convoluted plot of Verdi’s Trovatore can seem like the setup for a joke. Already verging on chaos, it makes a natural backdrop for the anarchic final scene of the Marx Brothers’ Night at the Opera.
“Il Trovatore overcomes its absurdities, though, with its vitality, its irresistible melodies and tightly driven rhythms.”
Tuesday, February 23 – Tchaikovsky’s The Queen of Spades – FIRST SHOWING
Conducted by Valery Gergiev; starring Galina Gorchakova, Elisabeth Söderström, Plácido Domingo, Dmitri Hvorostovsky and Nikolai Putilin. This revival of the 1995 Elijah Moshinsky production is from the 1998-1999 season.
As with his Eugene Onegin, Tchaikovsky used the work of Alexander Pushkin as the source for his opera, but he made significant changes to the plot from the author’s 1834 novella. Modest Tchaikovsky, the composer’s brother, wrote the libretto. The Queen of Spades had its world premiere in Saint Petersburg in 1890.
A young officer, Ghermann, falls for a girl, Lisa, whom he sees in a park. For him it is love at first sight. Ghermann learns that Lisa’s grandmother is a gambler who knows the secret three cards necessary to win any game. Ghermann wants to learn those three cards so he can gamble, win a lot of money and Lisa’s heart. But things don’t turn out the way he planned.
Anthony Tommasini, in his New York Times review, raved about most of the cast, but singled out Domingo. “The role of Ghermann, which Mr. Domingo aptly calls the Russian Otello, is his first in that language, not counting some roles from Russian operas he sang in Hebrew during his journeyman days with the Israeli Opera. He worked on his Russian diction with Ghermann-like obsessiveness, and it has paid off. Though mature-looking for Ghermann, he hurls himself into the part with an intensity that is ageless and sings with a power that seems almost dangerous. Yet, the plaintiveness in his lyrical phrases gives this pathetic character an affecting depth.”
Wednesday, February 24 – Tchaikovsky’s Eugene Onegin
Conducted by Valery Gergiev; starring Renée Fleming, Ramón Vargas and Dmitri Hvorostovsky. This revival of Robert Carsen’s 1997 production is from the 2006-2007 season.This is an encore presentation of the production that was previously made available on March 22nd and November 30th.
Pyotr Ilyich Tchaikovsky was inspired by Alexander Pushkin’s verse novel of the same name for this opera that had its world premiere in Moscow in 1879. The composer co-wrote the libretto (using much of Pushkin’s text as written) with Konstantin Shilovsky.
Onegin is a rather selfish man. Tatyana expresses her love for him, but he rejects her saying he isn’t suited to marriage. By the time he comes to regret the way he treated her, he has also come to regret the actions that lead to a duel that killed his best friend.
Anthony Tommasini, in his New York Times review raved, “You will seldom see better acting in opera then the scenes between Ms. Fleming and Mr. Hvorostovsky. With his white mane, commanding physique and earthy voice, Mr. Hvorostovsky projects charisma naturally, making him perfect for this diffident character.
“Everything and everyone seems to come to Onegin, which accounts for his passivity. In the scene in which he gently chastises Tatiana for having sent him a rash love letter, his paternalistic arrogance, as projected by Mr. Hvorostovsky, would have been infuriating had it not seemed so tragically clueless.”
Thursday, February 25 – Verdi’s Ernani
Conducted by Marco Armiliato; starring Angela Meade, Marcello Giordani, Dmitri Hvorostovsky and Ferruccio Furlanetto. This revival of the 1983 Pier Luigi Samaritani production is from the 2011-2012 season. This is an encore presentation of the production previously made available on May 26th.
This opera is based on Herman Melville’s 1830 drama of the same name. Francesco Maria Piave, who wrote the libretto, would go on to work with Verdi on multiple operas including La Traviata and Rigoletto. Ernani had its world premiere in Venice in 1844.
Set in 16th century Spain, the centerpiece of this opera is our heroine, Elvria, who finds herself the object of three men’s desires: Carlo, the King of Spain; Silva, her abusive uncle and our title character, Ernani who is a bandit formerly known as Don Juan of Aragon. Disguises, deceit, mercy, suicide and tragedy ensue.
Anthony Tommasini praised Hvorostovsky in his New York Times review, “The baritone Dmitri Hvorostovsky chose this evening to introduce a new role for him, Don Carlo. After a halting start, he sang it splendidly. The tessitura of the part, which sits on the high side for Verdi baritone roles, well suited Mr. Hvorostovsky, who shaped floating phrases with mellifluous, honeyed sound.”
Friday, February 26 – Verdi’s La Traviata
Conducted by Fabio Luisi; starring Natalie Dessay, Matthew Polenzani and Dmitri Hvorostovsky. This Willy Decker production is from the 2011-2012 season. This is an encore presentation of the production made available on April 24th and January 21st.
Alexandre Dumas fils (the son of the author of The Three Musketeers) wrote the play, La Dame aux camélias on which Verdi’s opera is based. Francesco Maria Piave wrote the libretto for La Traviata which had its world premiere in Venice in 1853.
In the opera, Violetta, who is in declining health, throws an opulent party. At this party she is introduced to Alfredo by her lover, Baron Douphol. When signs of failing health get noticed by Alfredo, he encourages her to give up her lavish lifestyle. He also admits his great love for Violetta. A love triangle is now in play. From there the opera tells the story of a woman who sacrifices everything to live life on the edge.
Dessay was ill when this production started and missed the opening night performance. She recovered and sang the role starting with the second performance.
Anthony Tommasini, writing in the New York Times, said of Dessay’s performance, “This was her first time portraying the touchstone role of Violetta at the Met. And before she uttered a note, Ms. Dessay, who had originally intended to be an actress, made a wrenching impression as the fatally ill courtesan…Dragging her feet, she walked unsteadily, a woman with no doubt that her life is slipping away. But when she heard the bustle of guests approaching, she shook out the wrinkles from her dress, took a whiff of a white camellia, and put on her party face.”
Saturday, February 27 – Verdi’s Un Ballo in Maschera
Conducted by Fabio Luisi; starring Sondra Radvanovsky, Kathleen Kim, Stephanie Blythe, Marcelo Álvarez and Dmitri Hvorostovsky. This David Alden production is from the 2012-2013 season. This is an encore showing of the production that was previously available on May 20th and August 27th.
Verdi’s opera, translated A Masked Ball, had its premiere in Rome in 1859. Librettist Antonio Somma used the libretto written by Eugène Scribe for the opera, Gustave III, ou Le Ballo masqué, written by Daniel Auber in 1833.
The opera is based on the real life assassination of King Gustav III of Sweden who was killed while attending a masquerade ball in Stockholm.
Verdi takes some dramatic liberties which certainly enhances the drama. Riccardo is in love with Amelia. She, however, is the wife of his good friend and confidante, Renato. Riccardo is warned by his friend that there is a plot to kill him at the ball. Paying no attention to the warning, Riccardo instead seeks out Ulrica, a woman accused of being a witch. In disguise he visits Ulrica to have his fortune read. She tells him he will be killed by the next man who shakes his hand. That next man turns out to be Renato. What follows is a story of intrigue, deception, questions of fidelity and, of course, the assassination.
This was a brand new production of Un Ballo in Maschera at the Met. Director Alden was influenced by black and white films and, in particular, film noir for his production.
Karita Matilla was originally announced to sing the role of Amelia. She withdrew approximately six months prior to its staging. Radvanovsky assumed the role.
In his New York Times review, Anthony Tommasini said of Radvanovsky and Hvorostovsky, “She was particularly moving in the scene in which her husband, here the charismatic baritone Dmitri Hvorostovsky, having discovered her in a rendezvous with the king, tells her to prepare to die. Confronting his wife, Mr. Hvorostovsky shook Ms. Radvanovsky by the shoulders, as if really ready to strangle her. But the next moment he nestled his head next to her face and kissed her, almost pleadingly, singing with his trademark dark sound and supple phrasing, which poignantly brought to life this suffering husband’s love.”
Sunday, February 28 – Verdi’s Il Trovatore
Conducted by Marco Armiliato; starring Anna Netrebko, Dolora Zajick, Yonghoon Lee, Dmitri Hvorostovsky and Štefan Kocán. This revival of David McVicar’s 2009 production is from the 2014-2015 season. This is an encore presentation of the production previously available on August 25th.
As this is the second production this week of Il Trovatore, no need to repeat the history or the synopsis. Four-and-a-half years separate the two productions being shown as part of the tribute to Hvorostovsky. As you will see below, Hvorostovsky’s health challenges played a key role in his interpretation of Count di Luna in this production.
This production of Il Trovatore took place months after Hvorostovsky’s diagnosis of cancer. This was his last production at the Met and as you could tell at the start of the clip above, he was beloved by the audience.
Anthony Tommasini’s review in the New York Times said that positively influenced the performance Hvorostovsky gave on opening night.
“It’s impossible to imagine a singer giving more than Mr. Hvorostovsky did on this night. When your life is actually threatened by a serious illness, you truly are putting everything on the line when you sing.
“Mr. Hvorostovsky gave a gripping performance as Count di Luna. There was little need to take what he has been going through into account. His resplendent voice, with its distinctive mellow character and dusky veneer, sounded not at all compromised. He sang with Verdian lyricism, dramatic subtlety and, when called for, chilling intensity as the complex count, who, in this production, with its Goya-inspired imagery, is the brash leader of the Royalist Aragon troops at a time of bloody civil war in Spain.”
That concludes Week 50 at the Met – a very special week indeed.
I hope you enjoy the operas, you enjoy Hvorostovsky and that you have a great week.
Photo: Dimitri Hvorostovsky at the curtain call for the September 25, 2015 performance of Il Trovatore (Photo by Marty Sohl/Courtesy Metropolitan Opera)