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Once Upon a Time: Week 57 at the Met

Craig Byrd — Mon, 12 Apr 2021 07:01:00 +0000

Good fairy tales usually start with Once Upon a Time. So it should comes as no surprise that fairy tales take center stage during Week 57 at the Met where the theme is that endearing opening line.

The week begins and ends with two different operas telling the story of Cinderella – both of which star Joyce DiDonato as the title character. There’s also the first-time streaming of the Met’s 1986-1987 season production of Puccini’s Turandot with Eva Marton, Leona Mitchell, Plácido Domingo and Paul Plishka. (Wait until you read what Donal Henahan had to say about this production!)

Since the Met is re-running productions as the bulk of their weekly streaming schedule, I’m going to mix in interviews with the performers and creators in place of clips to avoid the redundancy of showing the same few clips available. Let me know your thoughts!

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 early enough on April 12th, you’ll still have time to see the 2017-2018 season production of Verdi’s Luisa Miller which concludes From Page to Stage week.

Here is the full line-up for Week 57 at the Met:

Monday, April 12 – Massenet’s Cendrillon

Conducted by Bertrand de Billy; starring Kathleen Kim, Joyce DiDonato, Alice Coote and Stephanie Blythe. This Laurent Pelly production is from the 2017-2018. This is an encore presentation of the production previously made available on June 27th, September 10th and December 22nd.

Charles Perrault’s 1698 version of the Cinderella fairy tale serves as the inspiration for Massenet’s opera. Henry Caïn wrote the libretto. The world premiere of Cendrillon took place in 1899 in Paris.

You may recall that The Royal Opera made its production of Cendrillon available for streaming in late May. This is the same production with Joyce DiDonato and Alice Coote playing the roles of “Cendrillon” and “Prince Charming.”

Zachary Woolfe, in his New York Times review, praised DiDonato for the child-like wonder she brings to the role.

“Ms. DiDonato does sincerity better than anyone since Ms. von Stade. At 49, she can still step on stage and, with modest gestures and mellow sound, persuade you she’s a put-upon girl. She experiences the story with an open face and endearing ingenuousness, a sense of wonder that never turns saccharine. In soft-grained passages, she is often simply lovely.”

Tuesday, April 13 – Tchaikovsky’s Iolanta / Bartók’s Bluebeard’s Castle

Conducted by Valery Gergiev; starring Anna Netrebko and Piotr Beczała in Iolanta; Nadja Michael and Mikhail Petrenko in Bluebeard’s Castle. This Mariusz Trelinsk production is from the 2014-2015 season. This is an encore presentation of the production that was made available on June 9th and November 9th.

Iolanta was the last opera composed by Tchaikovsky. It featured a libretto by his brother Modesto and is based on a Danish play. The opera had its world premiere in 1892 in Saint Petersburg. It was on a program that also included The Nutcracker.

Set in France in the 15th century, Iolanta tells the story of the title character who is blind, but doesn’t know she is blind. Her father, King Rene, brings a doctor who believe he can cure her blindness, but only if she is made aware of it. The King refuses to take that chance. However, when a Count visits and falls in love with Iolanta, he reveals her condition to her. Furious the King vows to execute the Count. What will Iolanta do? What can she do?

This marked the first time Iolanta was performed at the Metropolitan Opera. The second half of the program was Bartok’s Bluebeard’s Castle.

The Hungarian composer wrote the opera in 1911 and made modifications in 1912 and 1917 before its world premiere in Budapest in 1918. The libretto was written by Béla Balázs based on a French folktale written by Charles Perrault.

Bluebeard’s Castle tells the story of Bluebeard who arrives at his castle with Judith who insists on their being more light in the castle. Bluebeard initially resists, but relents and one-by-one seven doors are opened throughout the castle. What Judith finds as each room gets opened leads to a startling conclusion for the unsuspecting woman.

These two operas are not commonly performed on the same program. Director Trelinsk explained his reasoning to the New York Times in an interview prior to opening night of his productions.

“Judith continues the story of Iolanta. We feel that the happy ending is not an end at all — that often, our addictions are stronger than us. There’s the classic repetition compulsion, where many years later you realize you have to leave normal life in order to relive your childhood trauma.”

Wednesday, April 14 – Mozart’s Die Zauberflöte

Conducted by James Levine; starring Golda Schultz, Kathryn Lewek, Charles Castronovo, Markus Werba, Christian Van Horn and René Pape. This revival of the 2004 Julie Taymor production is from the 2017-2018 season. This is an encore presentation of the production that was made available on June 28th, October 1st and March 4th.

Mozart’s opera premiered in September 1791 in Vienna a mere two months before the composer died. It features a libretto by Emanuel Schikaneder.

Prince Tamino is asked by the Queen of the Night to free her daughter Pamina from Sarastro. Tamino, however, is impressed with Sarastro and the way his community lives in the world and wants to be a part of it. Both alone and together Tamino and Pamina endure multiple tests. If they succeed, what will happen to them? To the Queen of the Night?

Anyone who has seen Taymor’s work for such shows as Juan Darién and The Lion King knows that she regularly employs puppets and wildly inventive staging.

Alex Ross, writing for The New Yorker about the original 2004 production said, “The Met stage has never been so alive with movement, so charged with color, so brilliant to the eye. The outward effect is of a shimmering cultural kaleidoscope, with all manner of mystical and folk traditions blending together. Behind the surface lies a melancholy sense that history has never permitted such a synthesis—that Mozart’s theme of love and power united is nothing more than a fever dream. But Taymor allows the Enlightenment fantasy to play out to the end.”

Thursday, April 15 – Humperdinck’s Hansel and Gretel

Conducted by Thomas Fulton; starring Judith Blegen, Frederica von Stade, Jean Kraft, Rosalind Elias and Michael Devlin. This revival of Nathaniel Merrill’s 1967 production is from the 1982-1983 season. This is an encore presentation of the production previously available on August 23rd.

The Grimm brother’s fairly tale about a brother and sister who are lured to a house with sweets and candies only to find a witch who wants to eat the duo is the basis for this opera that had its debut in 1893 in Weimar. Richard Strauss conducted the premiere. A second production the next year in Hamburg was conducted by Gustav Mahler. Adelheid Wette, Humpderdink’s sister, wrote the libretto.

Hansel and Gretel has the distinction of finding much of its popularity not just through opera houses, but on the radio. It was the first opera broadcast on the radio in Europe when a 1923 Covent Garden production was heard over the airwaves. Eight years later in 1931, it became the first ever opera broadcast in its entirety by the Metropolitan Opera.

The opera is commonly seen and heard during the Christmas season. An odd choice, but librettist Adelheid Wette did soften some of the harsher elements found in the original Grimm tales for her brother’s opera.

Friday, April 16 – Dvořák’s Rusalka

Conducted by Mark Elder; starring Kristine Opolais, Katarina Dalayman, Jamie Barton, Brandon Jovanovich and Eric Owens. This Mary Zimmerman production is from the from the 2016-2017 season. This is an encore presentation of the production previously available on July 31st.

Rusalka was Antonín Dvořák’s ninth opera and was based on fairytales. Poet Jaroslav Kvapil wrote the libretto. Rusalka had its world premiere in Prague in 1901.

In essence, this is the same story told in Hans Christian Anderson’s The Little Mermaid. A water sprite, Rusalka, tells her father she has fallen in love with a human prince and wants to join him in his world. He asks her to see a witch who gives her a potion to join the prince, but there are conditions: Rusalka will no longer be able to speak and she loses the opportunity to be immortal. More importantly, if the Prince does not stay in love with her, he will die and Rusalka will be damned for all eternity. This is definitely not a Disney version of the story.

Zimmerman’s production was a certified hit. The director won a Tony Award for her production of Metamorphoses and critics raved about both the look and approach to Dvořák’s dark opera. She didn’t shy away from the darker aspects of the story.

Saturday, April 17 – Puccini’s Turandot FIRST SHOWING

Conducted by James Levine; starring Eva Marton, Leona Mitchell, Plácido Domingo and Paul Plishka. This Franco Zeffirelli production is from the 1986-1987 season.

Puccini’s opera had its world premiere in 1926 in Milan. The libretto was written by Guiseppe Adami and Renato Simoni. The composer died two years before its premiere and the opera was completed by Franco Alfani.

Set in China, Turandot tells the story of Prince Calaf who has fallen in love with the title princess. She, however, isn’t very interested in him. In order for any man to marry Turandot, he is required to correctly answer three riddles. Should any answer be wrong, the suitor is put to death. Calaf is successful, but Turandot remains opposed to their marriage. He strikes a deal with her that will either lead to their marriage or his death.

I’m normally loathe to print harsh comments from reviews of these productions. However, sometimes the comments are so entertaining, I have to make an exception.

If you’ve been reading Cultural Attaché’s opera previews, you know my fondness for the late Donal Henahan of the New York Times. He certainly didn’t mince words in his review of this production:

“Two decades have elapsed since the Metropolitan Opera opened its new house at Lincoln Center with a production of Samuel Barber’s Antony and Cleopatra so ornately designed and overbearingly directed by Franco Zeffirelli that the night went down as an unforgettable fiasco. Since then, Mr. Zeffirelli has gone from excess to excess, most recently giving the Met such glittering shows as his inflated Boheme and his elephantine Tosca, both of which seem to delight Met audiences with their extravagance. In fact, Mr. Zeffirelli’s is one of the great excess stories of our time.

“The newest Zeffirelli, his Turandot, had its premiere Thursday evening and proved to be one of the few operas in the standard repertory that precisely suit his massive style. Turandot can be something more than a gelid fairy tale held together by gaudy pageantry, but Mr. Zeffirelli chooses here to stress razzle-dazzle rather than any emotional substance. As a result, this version of Puccini’s last, unfinished opera has the emotional impact of a night at the Ice Capades.”

Sunday, April 18 – Rossini’s La Cenerentola

Conducted by Fabio Luisi; starring Joyce DiDonato, Juan Diego Flórez, Pietro Spagnoli, Alessandro Corbelli and Luca Pisaroni. This revival of Cesare Lievi’s 1997 production is from the 2013-2014 season. This is an encore presentation of the production previously available on April 26th.

Gioachino Rossini’s opera of the Cinderella story is based on Charles Perrault’s Cendrillon. The libertto, by Jacopo Ferretti, was based on two previous libretti for operas based on the same story: Charles-Guillaume Étienne’s libretto for Nicolas Isouard’s 1810 opera Cendrillon and Francesco Fiorini’s libretto for Stefano Pavesi’s 1814 opera, Agatina o La virtú premiata. La Cenerentola had its world premiere in 1817 in Rome.

The story is exactly what you expect. After being relegated to chores around the house by her Stepmother and her Stepsisters, Cinderella dreams of going to the Prince’s ball. They mock her before leaving themselves for the event. Cinderella’s fairy godmother appears to make her dream a reality, but only if she returns by midnight.

Anthony Tommasini of the New York Times saw Javier Camarena performing the role of the prince and focused much of his review on the fact that Camarena took over the first three performances for Flórez who was ill. As much as he loved Camarena’s performance, he was also enamored with DiDonato:

“La Cenerentola,” Rossini’s version of the Cinderella fairy tale, is Cinderella’s show. The Metropolitan Opera has a dazzling, plucky and endearingly poignant Cinderella in the superb American mezzo-soprano Joyce DiDonato, who triumphed Monday night when the company’s 1997 production, which gives this 1817 classic a 1930s look, returned to the repertory.”

That’s it for Week 57 at the Met. I hope you enjoyed the fairy tales being told this week.

At press time I don’t know what the theme will be for Week 58. Enjoy the operas! Enjoy your week!

Photo: A scene from Turandot. (Courtesy Met Opera Archives)

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Celebrating Women’s History Month: Week 51 at the Met

Craig Byrd — Mon, 01 Mar 2021 08:01:00 +0000

The US government decreed that March would be Women’s History Month starting in 1987. But anyone who knows the world of opera knows that women have long played a strong role on opera stages around the world. Week 51 at the Met celebrates women on and off-stage.

Amongst the great performers are Hildegard Behrens, Renée Fleming, Mirella Freni, Susan Graham, Marilyn Horne, Jessye Norman, Leontyne Price, Patricia Racette, Golda Schultz and Beverly Sills. One of this week’s productions was directed by two-time Tony Award winner Julie Taymor.

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.

If you read this column early enough on March 1st, you might still have time to catch the 2014-2015 production of Il Trovatore by Giuseppe Verdi that concludes Dmitri Hvorostovsky Week at the Met.

Here is the full line-up of Week 51 at the Met:

Monday, March 1 – Donizetti’s Don Pasquale

Conducted by Nicola Rescigno; starring Beverly Sills, Alfredo Kraus, Håkan Hagegård and Gabriel Bacquier. This John Dexter production is from the 1978-1979 season. This is an encore presentation of the production that was made available on July 4th.

Gaetano Donizetti’s opera had its world premiere in Paris in 1843. The composer collaborated with Giovanni Ruffini on the libretto. It was inspired by the libretto Angelo Anelli had written for Ser Mercantonio, an opera by Stefano Pavesi from 1810.

Ernesto is Don Pasquale’s nephew. He wants to marry Norina, but Don Pasquale wants to choose his nephew’s bride. Others conspire against Pasquale and trick him so that ultimately Ernesto and Norina can marry.

With her role as Norina in this production of Don Pasquale, Beverly Sills gave her final performance at the Metropolitan Opera. This was a new production of the opera and was apparently created with Sills in mind.

Harold C. Schonberg, writing for the New York Times said of Sills’ performance, “The role of Norina did not tax Miss Sills’ vocal resources as much as some recent ones she has attempted. It would be idle to claim that she could handle everything in the part, but she paced herself well, avoided elaborate cadenzas or interpolations, and tried to project a clear line. Her work Thursday night was a triumph of experience and professionalism.”

Tuesday, March 2 – Verdi’s Falstaff

Conducted by James Levine; starring Mirella Freni, Barbara Bonney, Marilyn Horne, Susan Graham, Paul Plishka, Frank Lopardo and Bruno Pola. This revival of Franco Zeffirelli’s 1964 production is from the 1992-1993 season. This is an encore presentation of the production that was made available on July 24th, October 23rd and February 16th.

Two of Shakespeare’s play served as the inspiration for Verdi’s Falstaff: The Merry Wives of Windsor and sections from Henry IV Parts 1 and 2. Arrigo Boito adapted the plays to create the libretto. Falstaff had its world premiere in 1893 at La Scala in Milan. This was Verdi’s final opera and only his second comedic opera.

Simply put, Sir John Falstaff tries everything he can to woo two married woman so he can assume their husband’s vast fortunes. He’s rather bumbling in his efforts and the machinations in place to thwart his endeavors leave him with nothing short of a major comeuppance.

Edward Rothstein, writing for the New York Times, seemed to thoroughly enjoy the production. And he was very pleased with Plishka’s performance as the title character:

“Mr. Plishka gave the role an almost touchingly human quality. In the astonishing first scene aria, in which Falstaff declares his ambitions, mocks the idea of honor and praises his belly, there were few mannerisms or exaggerations. Mr. Plishka played it straight; he was a Falstaff almost enticingly full of himself. His voice was not often handsome (why should it have been?) but it was large, weighty and in character.”

Wednesday, March 3 – Wagner’s Die Walküre

Conducted by James Levine; starring Hildegard Behrens, Jessye Norman, Christa Ludwig, Gary Lakes, James Morris and Kurt Moll. This revival of the 1986 Otto Schenk production is from the 1988-1989 season. This is an encore presentation of the production that was made available June 30th, October 8th and February 14th.

This is the second opera in Richard Wagner’s Der Ring des Nibelungen (also known as The Ring Cycle.) It had its premiere as a stand-alone opera in 1870 in Munich. The first performance of the entire cycle was at Bayreuth six years later. Wagner wrote the libretto as well as the music.

The son of the god Wotan is a fugitive named Siegmund. When he finds himself taking refuge at Sieglinde’s house, the two fall passionately in love. But Sieglinde is married and in order for her and Siegmund to be together Siegmund must defeat her husband in a battle to the death.

This production marked the first time Norman sang the role of Sieglinde at the Metropolitan Opera. She earned rave reviews. What disappointed Donal Henahan is his New York Times review were the very things that make this film possible.

“The most objectionable feature of the evening, however, was also a technological one. Television cameras worked away throughout the performance from positions at either side of the stage and at the foot of both aisles, distracting what surely must have been hundreds of people seated in line with brightly lighted monitor screens. The machines, one learned, were rehearsing for a later Walkure telecast and making ‘scratch’ tapes that might be needed as backups. This, mind you, from a company that will not employ supertitles because they detract the audience’s attention from the stage.”

With this production you’ll get to see the end result of that distraction.

Thursday, March 4 – Mozart’s Die Zauberflöte

Mozart’s opera premiered in September 1791 in Vienna a mere two months before the composer died. It features a libretto by Emanuel Schikaneder.

Anyone who has seen Taymor’s work for such shows as Juan Darién and The Lion King knows that she regularly employs puppets and wildly inventive staging.

Friday, March 5 – Britten’s Peter Grimes

Conducted by Sir Donald Runnicles; starring Patricia Racette, Anthony Dean Griffey and Anthony Michaels-Moore. This John Doyle production is from the 2007-2008 season. This is an encore presentation of the production that was made available on May 14th, September 1st, November 13th and December 9th.

Benjamin Britten’s Peter Grimes had its world premiere in London in 1945. The libretto was written by Montagu Slater who based it on a poem in The Borough by George Crabbe.

In Peter Grimes, the title character is facing intense questioning after his apprentice has died. The townsfolk believe him to be responsible, the coroner rules he was not. Shortly afterward, Grimes recruits another apprentice, John. Ellen, the only person in town who believes Grimes, later finds herself questioning Grimes when she finds that John has intense bruising on his neck. Word spreads quickly about the boy’s injuries and the people in town want an investigation. What follows is tragic on multiple levels.

The title role was written by Benjamin Britten for his partner, Peter Pears. In the mid 60s, Jon Vickers’s performance has been considered definitive for quite some time.

John Doyle, best known for his minimalist productions of Stephen Sondheim musicals, made his Met Opera debut with this production of Peter Grimes. Griffey, having sung this opera a few times before this production, finally found his way into a lead role at the Met.

Anthony Tommasini, writing in the New York Times, found some unique qualities in how Griffey tackled the part: “Mr. Griffey, even though his voice has heft and carrying power, is essentially a lyric tenor. And it is disarming to hear the role sung with such vocal grace, even sweetness in places. Every word of his diction is clear. You sense Grimes’s dreamy side struggling to emerge. The moments of gentleness, though, make Mr. Griffey’s impulsive fits of hostility, his bursts of raw vocal power, seem even more threatening.”

Saturday, March 6 – Dvořák’s Rusalka

Conducted by Yannick Nézet-Séguin; starring Renée Fleming, Emily Magee, Dolora Zajick, Piotr Beczała and John Relyea. This revival of Otto Schenk’s 1993 production is from the 2013-2014 season. This is an encore presentation of the production that was made available on April 13th, November 19th and January 17th.

Rusalka was Antonín Dvořák’s ninth opera and was based on fairytales. Poet Jaroslav Kvapil wrote the libretto. Rusalka had its world premiere in Prague in 1901.

Zachary Woolfe, in his New York Times review, asked a question about this opera and relied on Nézet-Séguin to answer it:

“Dvorak’s Rusalka, about a water nymph doomed by her love for a human prince, is a fairy tale. But is it polite and placid, or savage and strange?

“There’s disagreement about the answer at the Metropolitan Opera, where a decidedly mixed revival of the work opened on Thursday evening. The conductor Yannick Nézet-Séguin, a prime candidate to replace James Levine someday as the Met’s music director, offered a clear vote for savage. He led a fierce orchestral performance, bringing out the symphonic sweep in Dvorak’s score and underlining its most cutting details.”

His comments about Nézet-Séguin proved to be accurate, didn’t they?

Sunday, March 7 – Verdi’s La Forza del Destino

Conducted by James Levine; starring Leontyne Price, Giuseppe Giacomini, Leo Nucci and Bonaldo Giaiotti. This John Dexter production is from the 1983-1984 season. This is an encore presentation of the production that was made available on June 18th and 19th, November 6th and February 2nd.

This frequently performed Verdi opera had its world premiere in 1862 in St. Petersburg, Russia. The libretto is by Francesco Maria Piave, based on an 1835 Spanish drama, Don Álvaro o la fuerza del sino by Ángel de Saavedra.

Leonora is the daughter of the Marquis of Calatrava. She falls in love with Don Alvaro, but her father is dead-set against their getting married. A tragedy befalls all three leaving Leonora to find solace in a monastery.

This was one of Price’s greatest roles throughout her career. Bernard Holland, writing in the New York Times, raved about her performance.

“This was truly Miss Price’s evening. There were some jolting shifts of register, and Miss Price must protect her fragile upper notes with tender care; but her dramatic presence on stage and the overall impact of her singing went far beyond matters of technique. ‘Madre, pietosa Vergine’ had a stunning muted eloquence, and ‘Pace, pace, mio Dio!’ at the end had a sonorous beauty and power of communication that this listener – and I think everyone else in attendance – will think back upon for many years to come.”

That’s all for Week 51 at the Met. Next week’s theme will be Verismo Passions and will include two first-time streaming productions.

Enjoy the operas and enjoy your week!

Photo: Beverly Sills in Don Pasquale (Courtesy Met Opera Archives)

The post Celebrating Women’s History Month: Week 51 at the Met appeared first on Cultural Attaché.

Week 29 at the Met

Craig Byrd — Mon, 28 Sep 2020 04:01:00 +0000

So successful was their all Puccini week, that Week 29 at the Met continues with the focus on another single (and singular) composer: Wolfgang Amadeus Mozart. It’s all Mozart week at the Met.

What’s particularly interesting about this week’s line-up is that there will be two different productions of Le Nozze di Figaro. They are separated by 16 years. Monday’s production, by Richard Eyre from 2014, replaced Friday’s 1998 production by Jonathan Miller.

Each production becomes available at 7:30 PM EDT/4:30 PM PDT on the Metropolitan Opera website. Every opera remains available for 23 hours. They are heavily promoting their Met Stars Live in Concert series and recently announced the cancellation of the full 2020-2021 season, so you’ll have to go past those announcements and promos to find the streaming productions. Schedules and timings may be subject to change.

If you read this column earlier enough on September 28th, you might still have time to catch the 2007-2008 season production of La Bohème that concluded Puccini Week.

Here is the full line-up for Week 29 at the Met:

Monday, September 28 – Mozart’s Le Nozze di Figaro

Conducted by James Levine; starring Amanda Majeski, Marlis Petersen, Isabel Leonard, Peter Mattei and Ildar Abdrazakov. This Richard Eyre production is from the 2014-2015 season. This is an encore presentation of the production that streamed on July 18th.

Mozart’s Le Nozze di Figaro is based on the 1784 play La folle journée, ou le Mariage de Figaro (translated: “The Mad Day, or The Marriage of Figaro”) by Pierre Beaumarchais. Lorenzo da Ponte wrote the libretto. La Nozze di Figaro had its world premiere in Vienna in 1786.

Figaro and Susanna are getting married. They are in a room made available to them by the Count who plans to seduce the bride-to-be based on an old law that gave permission to lords to have sex with servant girls on their wedding night. When Figaro gets wind of this plan he enlists several people to outwit the Count using disguises, altered identities and more.

This was a brand new production of Le Nozze di Figaro and served as the opening production of the 2014-2015 season. When James Levine conducted the opening night performance, it marked the first time in four years he was leading the Metropolitan Opera Orchestra in a performance on opening night.

Tuesday, September 29 – Mozart’s Così fan tutte

Conducted by James Levine; starring Susanna Phillips, Isabel Leonard, Danielle de Niese, Matthew Polenzani, Rodion Pogossov and Maurizio Muraro. This is a revival of Lesley Koenig’s 1996 production from the 2013-2014 season. This is an encore presentation of the production that was streamed on July 8th.

Mozart’s Cosí fan tutte had its world premiere in Vienna in 1790. Lorenzo Da Ponte, who wrote the libertti for The Marriage of Figaro and Don Giovanni, wrote the libretto.

Ferrando and Guglielmo are vacationing with their fiancées, Dorabella and Fiordiligi. They are sisters. Don Alfonso challenges the men to a bet revolving around the women and their ability to be faithful. Using disguise, deception and a wicked sense of humor, Mozart’s opera ends happily ever after for one and all.

What made this particular production memorable for the Metropolitan Opera and its fans is it marked the return of James Levine to the podium after a nearly two-and-a-half year absence due to health issues. (This was, of course, before other issues would force him to leave the Met Opera completely.)

Wednesday, September 30 – Mozart’s La Clemenza di Tito

Conducted by Harry Bicket; starring Lucy Crowe, Barbara Frittoli, Elīna Garanča, Kate Lindsey, Giuseppe Filianoti and Oren Gradus. This is a revival of the 1984 Jean-Pierre Ponnelle production from the 2012-2013 season. This is an encore presentation of the production that was streamed on June 8th.

La Clemenza di Tito (“The Clemency of Titus”) has a libretto by Caterino Mazzolà who altered Pietro Metastasio’s libretto which had been used by other composers before Mozart turned his attention to this story. The world premiere took place in Prague in 1791.

Roman Emperor Tito has his eyes set on his friend Sesto’s sister, Sevilla. Sesto is in love with Vitellia. She wants to be married to Tito, but he is not interested in her and she recruits Sesto to assassinate the Emperor in exchange for her love. Intrigue, betrayal and mercy are in store for all involved.

La Clemenza di Tito is not considered to be amongst Mozart’s finest works. When this production opened in 2012, New York Times writer Zachary Woolfe made an argument for greater consideration of the opera. You can read his essay here.

Thursday, October 1 – Mozart’s Die Zauberflöte

Mozart’s opera premiered in September 1791 in Vienna a mere two months before the composer died. It features a libretto by Emanuel Schikaneder.

Anyone who has seen Taymor’s work for such shows as Juan Darién and The Lion King knows that she regularly employs puppets and wildly inventive staging. Alex Ross, writing for The New Yorker about the original 2004 production said, “The Met stage has never been so alive with movement, so charged with color, so brilliant to the eye. The outward effect is of a shimmering cultural kaleidoscope, with all manner of mystical and folk traditions blending together. Behind the surface lies a melancholy sense that history has never permitted such a synthesis—that Mozart’s theme of love and power united is nothing more than a fever dream. But Taymor allows the Enlightenment fantasy to play out to the end.”

Friday, October 2 – Mozart’s Don Giovanni

Conducted by Fabio Luisi; starring Marina Rebeka, Barbara Frittoli, Mojca Erdmann, Ramón Vargas, Mariusz Kwiecień, Luca Pisaroni and Štefan Kocán. This Michael Grandage production is from the 2011-2012 season. This is an encore presentation of the production that was streamed on July 3rd.

The legend of Don Juan inspired this opera by Wolfgang Amadeus Mozart. The libretto is by Lorenzo da Ponte. Don Giovanni had its world premiere in 1787 in Prague.

Don Giovanni loves women. All women. Early in the opera he tries fleeing Donna Anna. In doing so her father, the Commendatore, awakens and challenges him to a duel. Giovanni kills the Commendatore – an event that will ultimately lead to his own descent into hell.

Michael Grandage, best known for his stage credits including his Tony Award-winning direction of Red, made his Metropolitan Opera debut with this production. His opening night was marked with a major challenge as Mariusz Kwiecień who was announced to sing the title role, had injured his back during the dress rehearsal and was unable to perform. Dwayne Croft sang the role on opening night. Before Kwiecień returned for the rest of the run on the fourth performance, Peter Mattei filled in for the second and third performances.

Saturday, October 3 – Mozart’s Le Nozze di Figaro

Conducted by James Levine; starring Renée Fleming, Cecilia Bartoli, Susanne Mentzer, Dwayne Croft and Bryn Terfel. This Jonathan Miller production is from the 1998-1999 season. This is an encore presentation of the production that was streamed on May 4th.

Bernard Holland, reviewing for the New York Times, said of this production, “One cannot say enough about the septet ending Act II and the final ensemble of Act IV: episodes in which theater and music merged as they rarely do, and where each player was made exquisitely aware of every other. Mozart operas move on the wheels of their ensembles, and Mr. Miller — with no coups de theatre and many acts of self-effacing care — made them turn.”

Sunday, October 4 – Mozart’s Idomeneo

Conducted by James Levine; starring Nadine Sierra, Elza van den Heever, Alice Coote, and Matthew Polenzani. This revival of the 1982 Jean-Pierre Ponnelle production from the 2016-2017 season. This is an encore presentation of the production that streamed on May 18th.

Mozart’s opera had its world premiere in 1781 in Munich and has a libretto by Giambattista Varesco.

Idomeneo tells the story of Idomeneus, the King of Crete, who in order to survive at sea promises Poseidon he will kill the first man he sees upon being rescued. His son, Idamante, learns that his father is in serious danger and fears he has perished. Mourning his father at the beach, he is overjoyed to see that he has survived. But in doing so becomes the first man his father sees. That’s when the story gets good!

Of Nadine Sierra seen in the clip above, George Grella in New York Classic Review said, “Her voice balanced youthful shine and, just under the surface, deep feeling. She was incandescent all night, singing with great ease and richness, and modulating naturally between moods of loss, love, regret, and pride.”

That is the full line-up for Week 29 at the Met. Next week will be an all-Wagner week and will include the full Ring Cycle.

Enjoy Mozart and have a terrific week.

Photo: Charles Castronovo and Golda Schultz Mozart’s “Die Zauberflöte.” (Photo byRichard Termine/Courtesy of Metropolitan Opera)

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Week 15 at the Met

Craig Byrd — Mon, 22 Jun 2020 23:23:09 +0000

Week 15 at the Met begins this week the way it was previously scheduled to end Week 14 yesterday. A shift in last week’s scheduled forced the moving of Verdi’s La Traviata to start this week’s offerings.

From my perspective two productions stand out as highlights this week. The first is Tuesday’s streaming production of John Adams’s Doctor Atomic. The other is Sunday’s Julie Taymor directed production of Mozart’s The Magic Flute.

All productions are available by going to the Met Opera website. Each production is scheduled to become available at 7:30 PM EDT/4:30 PM PDT for a period of 23 hours. As we learned last week, schedules are subject to change.

Here is the line-up for Week 15 at the Met:

Monday, June 22 – Verdi’s La Traviata (this is the production originally scheduled to conclude Week 14 at the Met)

Conducted by Nicola Luisotti; starring Sonya Yoncheva, Michael Fabiano and Thomas Hampson. This is a revival of the 2011 Willy Decker production from the 2016-2017 season.

La Traviata is one of the world’s most performed operas. Verdi collaborated with librettist Francesco Maria Piave on this opera inspired by a play (La Dame aux camélias) that was itself inspired by the novel fils by Alexandre Dumas. The opera had its world premiere in 1853 in Venice.

Like many good love stories, this one does not end well. Violetta (Yoncheva) is in love with Alfredo Germont (Fabiano). His father (Hampson) demands that she give up on her one-true love and that leads to devastating consequences.

Zachary Woolfe raved about Yoncheva in the New York Times after seeing this production.

“Ms. Yoncheva is now the one I’d seek out, no matter what she does. (And she does most everything: This “Traviata” comes in the wake of both Bellini’s mighty “Norma” and a Handel album.)

“A few years ago, Ms. Yoncheva had an essentially slender soprano focused enough to penetrate the vast Met. Now she fills the opera house more easily, with a tone that’s simultaneously softer and stronger, less angled and more rounded. New strength in the lower reaches of her voice anchored “Addio del passato,” the final-act lament of the doomed courtesan Violetta.”

This is the second production of La Traviata shown by the Metropolitan Opera during these streaming productions. The previous production, starring Natalie Dessay in 2012, was also a revival of the 2011 production.

Tuesday, June 23 – John Adams’s Doctor Atomic

Conducted by Alan Gilbert; starring Sasha Cooke, Thomas Glenn, Gerald Finley, Richard Paul Fink and Eric Owens. This Penny Woolcock production is from the 2008-2009 season.

This John Adams opera had its world premiere in 2005 in San Francisco and features a libretto by Peter Sellars. The main source of inspiration for the libretto was declassified government documents from individuals who worked at Los Alamos on the development of the atomic bomb.

Act one of Doctor Atomic takes place approximately one month before the first test. The second act takes place the morning of that test in 1945. At the center of it all is Robert J. Oppenheimer (Finley).

In his review for the New York Times, Anthony Tomassini said of Adams’s score: “This score continues to impress me as Mr. Adams’s most complex and masterly music. Whole stretches of the orchestral writing tremble with grainy colors, misty sonorities and textural density. Mr. Gilbert exposes the inner details and layered elements of the music: obsessive riffs, pungently dissonant cluster chords, elegiac solo instrumental lines that achingly drift atop nervous, jittery orchestral figurations.”

Wednesday, June 24 – Saint-Saëns’s Samson et Dalila

Conducted by Sir Mark Elder; starring Elīna Garanča and Roberto Alagna. This Darko Tresnjak production is from the 2018-2019 season.

The biblical tale of Samson and Delilah serves as the inspiration for Saint-Saëns’s opera. With a libretto by Ferdinand Lemaire, Samson et Dalila had its world premiere in Weimar in 1877. Franz Liszt, who previously served as the Music Director at Weimar, was instrumental in getting the opera its world premiere there.

When the governor of the Philistines, Abimelech, belittles the Hebrews into believing that they are helpless to his power and that of the temple of Dagon. Everyone believes him except Samson, who leads a rebellion against Abimelech and kills him. He meets Dalila who tells Samson that his accomplishments have wooed her and that she’s in love with him. Though others try to warn him about Dalila, he succumbs to her charms. But is she truly in love with Samson or does she have other ideas in mind?

This production marked the Metropolitan Opera debut of director Tresnjak who is best known for his work on Broadway with such shows as A Gentlemen’s Guide to Love and Murder (for which he won a Tony Award) and the musical Anastasia. He directed LA Opera’s award-winning production of John Corigliano’s The Ghosts of Versailles.

Thursday, June 25 – Massenet’s Manon

Conducted by Maurizio Benini; starring Lisette Oropesa, Michael Fabiano and Artur Ruciński. This is a revival of the 2011-2012 Laurent Pelly production from the 2019-2020 season.

Massenet’s opera was composed in 1883 and had its world premiere in January of 1884 in Paris. The libretto is by Henri Meilhac and Philippe Gille. They based the opera on the 1731 Abbé Prévost novel, L’histoire du chevalier des Grieux et de Manon Lescaut.

A young woman from a small town has an intense desire to lavish herself with all the riches and pleasures life has to offer her. Sounds like a story that could be written today.

The main attraction of any production of Manon is the performance of the soprano singing the title role. Oropesa certainly didn’t disappoint.

Joshua Barone, writing for the New York Times said of Oropesa’s performance, “With a voice by turns brightly crystalline and arrestingly powerful, she persuasively inhabits the role of this chameleon coquette. When she blows a kiss at a crowd of men in Laurent Pelly’s often stylized production, their heads whip backward, as if feeling a sudden gust of wind. The audience can’t avoid catching a bit of the gale, too.

“Ms. Oropesa’s performance, her first at the Met since winning its Beverly Sills Artist Award as well as the prestigious Richard Tucker Award this spring, is alone worth the price of admission.”

This is the second production of Manon programmed by the Metropolitan Opera. The 2011-2012 production, with Anna Netrebko as Manon, was streamed on May 24th.

Friday, June 26 – Donizetti’s L’Elisir d’Amore

Conducted by James Levine; starring Kathleen Battle, Luciano Pavarotti, Juan Pons and Enzo Dara. This John Copley production is from the 1991-1992 season.

Gaetano Donizetti’s opera had its world premiere in 1832 in Milan. The libretto, by Felice Romani, was based on Eugène Scribe’s libretto for Daniel Auber’s Le philtre.

Poor Nemorino doesn’t have anything to offer the love of his life, Adina. Sergeant Belcore is also in love with Adina, but she spurns his offer of marriage. Knowing that Adina has read the story of Tristan and Isolde, Nemorino asks Dr. Dulcamara for the same love potion that Tristan used to win over Isolde. Will this elixir of love truly works its magic?

Edward Rothstein, in his review for the New York Times had mixed feelings about certain performances and elements of the production, but he singled out Battle for praise. “Ms. Battle can send a note out into space, sustain it there, playing subtly with its shape and dimension, then call it back into her throat and gently bring it to a close so one awaits the next moment of sensuous sound. When Adina realizes that she really does love this slightly clumsy peasant, Ms. Battle’s sighs of recognition soared. Donizetti might have preferred a lighter timbre, but he would certainly have recognized his elixir in use.”

Saturday, June 27 – Massenet’s Cendrillon

Conducted by Bertrand de Billy; starring Kathleen Kim, Joyce DiDonato, Alice Coote and Stephanie Blythe. This Laurent Pelly production is from the 2017-2018.

You may recall that The Royal Opera made its production of Cendrillon available for streaming in late may. This is the same production with Joyce DiDonato and Alice Coote playing the roles of “Cendrillon” and “Prince Charming.”

Zachary Woolfe, in his New York Times review praised DiDonato for the child-like wonder she brings to the role. “Ms. DiDonato does sincerity better than anyone since Ms. von Stade. At 49, she can still step on stage and, with modest gestures and mellow sound, persuade you she’s a put-upon girl. She experiences the story with an open face and endearing ingenuousness, a sense of wonder that never turns saccharine. In soft-grained passages, she is often simply lovely.”

Sunday, June 28 – Mozart’s Die Zauberflöte

Mozart’s opera premiered in September 1791 in Vienna a mere two months before the composer died. It features a libretto by Emanuel Schikaneder.

Anyone who has seen Taymor’s work for such shows as Juan Darién and The Lion King knows that she regularly employs puppets and wildly inventive staging. When Alex Ross, writing for The New Yorker about the original 2004 production said, “The Met stage has never been so alive with movement, so charged with color, so brilliant to the eye. The outward effect is of a shimmering cultural kaleidoscope, with all manner of mystical and folk traditions blending together. Behind the surface lies a melancholy sense that history has never permitted such a synthesis—that Mozart’s theme of love and power united is nothing more than a fever dream. But Taymor allows the Enlightenment fantasy to play out to the end.”

That’s the complete line-up for Week 15 at the Met. Enjoy your operas and have a great week!

Photo: Markus Werba as Papageno in Mozart’s Die Zauberflöte. (Photo by Richard Termine/Courtesy of Metropolitan Opera)

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