Two productions stand out to me this week. The first is the third streaming of the 2016-2017 season production of Wagner’s Tristan und Isolde with Stuart Skelton and Nina Stemme. This happens to be my favorite opera, but this production is powerful. The second highlight is the first-ever streaming of the 2012-2013 season production of Donizetti’s L’Elisir d’Amore.

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 March 29th, you might still have time to catch the 2019-2020 season production of Wagner’s Der Fliegende Holländer that concludes a week celebrating Myths and Legends.

Here is the line-up for Week 55 at the Met:

Monday, March 29 – Bellini’s Norma

Conducted by Carlo Rizzi; starring Sondra Radvanovsky, Joyce DiDonato, Joseph Calleja and Matthew Rose. This David McVicar production is from the 2017- 2018 season. This is an encore presentation of the production that was made available on April 5th, September 20th and January 20th.

Vincenzo Bellini’s Norma had its world premiere in Milan in 1831. The libretto was written by Felice Romani based on Alexandre Soumet’s play Norma, ou L’infanticide (Norma, or The Infanticide).

The opera is set during Roman occupation of Gaul. Norma, the Druid high priestess, has been abandoned by the Roman consul, Pollione, the father of her two children. He has fallen in love with his wife’s friend, Adalgisa. Norma is devastated when she learns of his betrayal and his plans to marry Adalgisa. This leaves Norma in the position of having to figure out what to do with her children and whether or not to exact revenge on Pollione. 

Maria Callas made Norma a signature role for her after she first performed in a 1948 production at Teatro Comunale di Firenze. She sang the part in 89 performances. The role is considered the Mount Everest of opera. 

James Jorden examined what makes this role so challenging in a 2017 article for the New York Times that ran just before this production opened. You can read that story here.

Tuesday, March 30 – Strauss’s Capriccio

Conducted by Sir Andrew Davis, starring Renée Fleming, Sarah Connolly, Joseph Kaiser, Russell Braun, Morten Frank Larsen and Peter Rose. This revival of the 1998 John Cox production is from the 2010-2011 season. This is an encore presentation of the production made available on May 7th and January 15th.

As the Countess, Fleming must make one decision that resonates in a second way. Does she prefer words or music? And by extension, does she prefer the poet or the composer that make up the love triangle in this opera.

When Fleming decided to do the role of the Countess in this opera by Strauss in 2011, it was the first time she had performed the full opera at the Met. Anthony Tomassini of the New York Times was impressed:

“The role suits her ideally at this stage of her career, and she sang splendidly. The performance over all, sensitively conducted by Andrew Davis and featuring a winning cast, made an excellent case for this Strauss curiosity, his final opera, which had its premiere in Munich in 1942 in the midst of World War II.”

Wednesday, March 31 – Donizetti’s Roberto Devereux

Conducted by Maurizio Benini; starring Sondra Radvanovsky, Elīna Garanča, Matthew Polenzani and Mariusz Kwiecień.  This David McVicar production is from the 2015-2016 season. This is an encore presentation of the production that was made available on April 29th and October 17th.

Roberto Devereux had its world premiere in Naples in 1837. François Ancelot’s Elisabeth d’Angleterre was the main inspiration for Salvadore Cammarano’s libretto. It is believed he also used Jacques Lescéne des Maisons’ Historie secrete des amours d’Elisabeth et du comte d’Essex as inspiration as well.

This opera tells the story of the title character who is the Earl of Essex. Queen Elizabeth I is secretly in love with him. In the very late 16th century (1599 to be exact), she sends him with an army to quash an uprising in Ireland. He is unsuccessful and, despite instructions to do otherwise, he returns to England. He is deemed to be a deserter. This being opera, it isn’t just a political tale nor one of history. There are conflicted relationships that ultimately lead to tragedy.

This was the Metropolitan Opera’s first production of Roberto Devereux. When Radvanovsky sang in this production, she had also performed the two previous Donizetti operas in this informal trilogy in the same season at the Met.

This is how the audience responded on opening night to Radvanovsky’s accomplishment as reported by Anthony Tommasini in the New York Times:

“The applause and bravos for the soprano Sondra Radvanovsky were so frenzied at the end of Donizetti’s Roberto Devereux at the Metropolitan Opera on Thursday night that she looked overwhelmed, almost a little frightened.The audience members knew, it seemed, that they had just witnessed an emotionally vulnerable and vocally daring performance, a milestone in the career of an essential artist.”

Thursday, April 1 – Verdi’s Il Trovatore

Conducted by James Levine; starring Éva Marton, Dolora Zajick, Luciano Pavarotti and Sherrill Milnes. This Fabrizio Melano production is from the 1988-1989 season. This is an encore presentation of the production that was made available on July 7th and January 1st.

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.

When this production first opened that season at the Metropolitan Opera, Joan Sutherland sang the role of Leonora and Richard Bonynge was conducting. Pavarotti sang the role of Manrico throughout.

While critics were not so keen on Melano’s direction, Donal Henahan, writing for the New York Times, liked much of Pavarotti’s performance.

“Mr. Pavarotti was in good vocal health, immediately making ears prick up with his offstage song in the duel scene. Later, his ‘Ah, si, ben mio’ was meltingly ardent and unmistakably the work of a genuine lyric tenor. In the opera’s most famous aria, ‘Di quella pira,’ his voice simply lacked the bite and thrust required for this showpiece of the Italian robust tenor.”

Friday, April 2 – Massenet’s Werther

Conducted by Alain Altinoglu; starring Lisette Oropesa, Sophie Koch, Jonas Kaufmann and David Bižić. This Richard Eyre production is from the 2013-2014 season. This is an encore presentation of the production that was made available May 11th and September 13th.

Goethe’s The Sorrows of Young Werther was the inspiration for this opera which had its world premiere in 1892 in Vienna. It is not the first opera inspired by Goethe’s novel: Rodolphe Kreutzer wrote one in 1792 as did Vincenzo Pucitta in 1802.

Werther tells the story of a young man who spends some of his time writing poetry and imagining life as he thinks it should be. He falls in love with the daughter of a man who manages a large estate. Things don’t always measure up to his ideal of the world and the title character contemplates suicide. That’s just the first half.

In his New York Times review of this production, Anthony Tomassini said:

“To be a great Werther, a tenor must somehow be charismatic yet detached, vocally impassioned yet ethereal. Mr. Kaufmann is ideal in the role. He sings with dark colorings, melting warmth, virile intensity and powerful top notes. There is a trademark dusky covering to his sound that lends a veiled quality to Mr. Kaufmann’s Werther and suits the psychology of the character.”

Saturday, April 3 – Donizetti’s L’Elisir d’Amore FIRST SHOWING

Conducted by Maurizio Benini; starring Anna Netrebko, Matthew Polenzani, Mariusz Kwiecień and Ambrogio Maestri. This Bartlett Sher production is from the 2012-2013 season.

Donizetti’s L’Elisir d’Amore had its world premiere in Milan in 1832. The libretto by Felice Romani. L’Elisir d’Amore was inspired by Eugène Scribe’s libretto for Daniel Auber’s Le philtre.

In this opera, Adina and Nemorino are the couple at the center of the story. Nemorino is madly in love with Adina, but she toys with his love. In an act of desperation he purchases an “elixir” that he believes will make her fall in love with him. He pretends not to love her anymore which leads, of course, to the planning of their wedding. But will it take place? It’s a comic opera, of course it will!

In his New York Times review, Anthony Tommasini said this production was a much-needed upgrade from the Met’s previous production:

“What mattered on Monday was that the Met, having junked its 1991 production of Elisir, a cutesy show with cartoonish sets, now has a handsome and insightful new staging. The cast, which also stars the tenor Matthew Polenzani as Nemorino, the poor villager who pines for Adina, is terrific. Maurizio Benini conducts a stylish and zesty performance. And Mr. Sher delves beneath the surface of this frothy, tuneful opera to highlight its tale of two young people incapable of facing their mutual attraction.”

Sunday, April 4 – Wagner’s Tristan und Isolde HIGHLY RECOMMENDED

Conducted by Simon Rattle; starring Nina Stemme, Ekaterina Gubanova, Stuart Skelton, Evgeny Nikitin and René Pape. This Mariusz Trelinski production is from the 2016-2017 season. This is an encore presentation of the production that was made available on March 23rd and October 5th.

Richard Wagner wrote the music and the libretto for Tristan and Isolde. Gottfried von Strassburg’s novel, Tristan, from the 12th century, serves as his inspiration. The opera had its world premiere in Munich in 1865.

It is a bit of oversimplifying to say that the story in Tristan und Isolde is about two lovers whose passion for each other is so strong, it can only truly thrive in the afterlife. But frankly, in a nutshell, that’s the essential premise. But don’t be mistaken, this is pure drama and glorious music.

Anyone who saw Nina Stemme in Richard Strauss’s Elektra that has streamed a few times know how fully-committed she is to the characters she sings.

Anthony Tommasini, writing in the New York Times, hailed her performance:

“Her Isolde is just as outstanding. Her voice has enormous carrying power without any forcing. Gleaming, focused top notes slice through the orchestra. As Isolde went through swings of thwarted fury, yearning and despair, Ms. Stemme altered the colorings of her sound, from steely rawness to melting warmth. And it is not often you hear a Wagnerian soprano who takes care to sing with rhythmic fidelity and crisp diction.”

Those are the productions available during Week 55 at the Met. I’m not sure what next week has in store – yet! Enjoy the operas and enjoy your week!

Photo: Stuart Skelton and Nina Stemme in Tristan und Isolde (Photo by Ken Howard/Courtesy Metropolitan Opera)

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We have links in the title for most of the events we have listed here. That will make it easy for you to find your way directly to these exciting performances.

So let’s get to it. Here are your Best Bets at Home: September 11th – September 13th:

This Is a Man’s World – Latino Theater Company – Now – September 17th

In Los Angeles-based Latino Theater Company’s ongoing series of streaming archived performances, this week they have added Sal Lopez’s one-person show This Is a Man’s World.

The play opened in 2015 and takes a look at masculinity. Lopez combines monologue and music to relay the important events in his life. These include the Watts Riots, falling in love and the birth of his son.

This Is a Man’s World was directed by Jose Luis Valenzuela

Table of Silence Project 9/11 – Buglisi Dance Theatre and Lincoln Center – September 11th – 7:55 AM EDT/4:55 AM PDT

For the tenth anniversary of the 9/11 tragedy in 2011, Jacqulyn Buglisi, Artistic Director of Buglisi Dance Theatre, created Table of Silence Project 9/11. The work found over 150 dancers gradually making their way to Lincoln Center’s Josie Robertson Plaza. The plaintive call of a conch shell brings them together as music from a flute, bass drums, a trumpet, bells and the sounds of a chorus fill the space.

Three of her collaborators – Composer/Music Director Daniel Bernard Roumain, spoken-word poet Marc Bamuthi Joseph, and Buglisi Dance Theatre Co-Founder/Principal Dancer Terese Capucilli – have re-worked Table of Silence Project 9/11 for 2020.

There will be a new Prologue which will feature dancers from Buglisi Dance Theatre, Ailey II, Alison Cook Beatty Dance, Ballet Hispánico’s BHdos, The Juilliard School, Limón Dance Company, Martha Graham Dance Company. In addition to other dancers from the NYC community, violinist Daniel Bernard Roumain and poet Joseph will be joining this year’s performance.

The entire event will be streamed live with the following program:

A Prologue, performed live from Lincoln Center; welcome remarks from industry leaders; an excerpt from Buglisi’s Requiem, (choreographed in 2001 as an immediate response to the events of 9/11); the World Premiere of Études, a new three-minute film featuring more than 100 dancers from around the world who have been inspired by the Table of Silence Project 9/11 to create and submit small scale works recorded during the month of August and, finally, the full presentation of the 2019 Table of Silence Project 9/11.

If you cannot watch the event live, it will be available on-demand after its premiere.

Amanda Green AF in Q – Birdland – September 11th – 7:00 PM EDT/4:00 PM PDT

If you don’t know Amanda Green by name, you might be familiar with some of her work. She wrote the lyrics for the musical High Fidelity; lyrics with Lin-Manuel Miranda for Bring It On: The Musical; music with Trey Anastasio and lyrics for Hands on a Hardbody; additional material for the 2019 revival of Cole Porter’s Kiss Me Kate and additional lyrics for the 2015 revival of On the Twentieth Century.

Green has a distinct connection to the last musical. Her father, the late Adolph Green, co-wrote the music and lyrics for On the Twentieth Century with his long-time writing partner Betty Comden. In the interest of being fair to both parents, her mother was the late Phyllis Newman, a Tony Award winner for her performance in the musical Subways Are For Sleeping.

In one of the Radio Free Birdland! concerts filmed at the venue without an audience, Green performs along with her guests singer Natalie Douglas, singer/songwriter Curtis Moore and drummer Sean McDaniel. The music director is James Sampliner.

She’s working on a couple new musicals – including one with Jason Robert Brown and Billy Crystal. Perhaps there will be previews of the new material.

Tickets are $23.50.

The Royal Ballet’s Romeo and Juliet – Great Performances PBS – September 11th (Check local listings)

In 1965 legendary choreographer Kenneth MacMillan debuted his new ballet, Romeo and Juliet, with the Royal Ballet. It’s Shakespeare’s classic tale danced to the music of composer Sergei Prokofiev. It received phenomenal reviews and the company, which featured Rudolf Nureyev and Margot Fonteyn, gave 43 curtain calls during the 40-minute standing ovation at the ballet’s completion.

For this film airing on Great Performances, the ballet leaves the stage and takes place in and around multiple locations and sets in Budapest, Hungary.

Dancing the role of Juliet is Francesca Hayward, William Bracewell dances Romeo and Matthew Ball dances the role of Tybalt. BalletBoyz Michael Nunn and Wiliam Trevitt directed the film.

As with all PBS airings, best to check your local listings for exact dates and times.

SHE – Latino Theater Company – September 11th – September 20th

Latino Theater Company also continues new readings of plays and this week it is SHE written by Marlow Wyatt. This is a sneak peak at a production that has been rescheduled for next year.

In the play the title character is a 13-year-old. She’s growing up in a small town where poverty is all-too-present. SHE uses her imagination to escape the trappings of her world by creating poetry. When she gets the chance to go to Vanguard Academy, a prestigious school, she comes face-to-face with the harsh realities of the real world. Her dreams have a price. But support comes from the most unlikely of places.

This reading is directed by IMANI.

Joyce DiDonato in Bochum, Germany – Metropolitan Opera – September 12th – 1:30 PM EDT/10:30 AM PDT

If you are a regular reader of Cultural Attaché (particularly the weekly listings of Metropolitan Opera nightly streams), you’ll immediately recognize the name of mezzo-soprano Joyce DiDonato. She has appeared in their streamed productions of Rossini’s Il Barbiere di Siviglia, Le Comte Ory, La Donna del Lago and La Cenerentola; Donizetti’s Maria Stuarda; Massenet’s Cendrillon and Handel’s Agrippina.

This Saturday she joins the Met Opera Stars Live in Concert series with a recital of her own from Bochum, Germany. Joining DiDonato for the performance will be pianist Carrie-Ann Matheson and chamber ensemble Il Pomo D’Oro.

Her program is scheduled to include works by Claudio Monteverdi, Hector Berlioz, Gustav Mahler, George Frideric Handel, Antonio Cesti, Wolfgang Amadeus Mozart, Alberto Evaristo Ginastera, Louiguy and Rodgers and Hammerstein. There will also be the world premiere of a new work by Kenyatta Hughes with text by Langston Hughes.

Tickets are $20.

Moonlight Sonata Gala – Pasadena Symphony & Pops – September 12th – 9:00 PM EDT/6:00 PM PDT

Like many a gala in 2020, the Pasadena Symphony and Pops have gone on-line. Their Moonlight Sonata Gala will be free to watch, but you’ll have to register to do so. The registration does require you add credit card details. Your card will only be charged if you choose to bid on and win items in their auction.

The event will feature performances by Michael Feinstein, singer Catherine Russell, Broadway’s Cheyenne Jackson and others. Patti Austin will appear as will Pops conductor Larry Blank. Music Director David Lockington serves as host. After the event is over there is an after-party with Michael Cavanaugh who appeared on Broadway in the musical Movin’ Out.

Love in Action: A Telethon To Support the LGBTQ Community – KTLA TV – September 12th – 10:00 PM EDT/7:00 PM PDT

So what makes a telethon something to consider at Cultural Attaché? Well, any telethon that has a line-up like this one is bound to appeal to fans of culture:

Tony Award winners Cynthia Erivo, Cyndi Lauper, Leslie Odom Jr., Billy Porter and Lily Tomlin

Tony Award nominee Andrew Rannells

Drama Desk Award-winner Jesse Tyler Ferguson and Drama Desk nominee Anthony Rapp

Singers Melissa Etheridge, k.d. lang, Sia and the vocal ensemble Tonality

Actors Alexandra Billings, Wilson Cruz, Armie Hammer, Alec Mapa, Peter Paige, Pauley Perrette and Brian Michael Smith

Comedians Margaret Cho, Ilana Glazer, Jay Leno and Bruce Vilanch

Drag icons RuPaul, Miss Coco Peru and Shangela.

And a certain Oscar winner named Cher is also joining the fun.

Jane Lynch is hosting the two-hour event along with KTLA News anchor Cher Calvin. You know what they say, Cher and Cher alike.

For the Love of Lyric Concert – Lyric Opera of Chicago – September 13th – 7:00 PM EDT/4:00 PM PDT

Established in 1954, the Lyric Opera of Chicago has been a prominent part of the performing arts in Chicago. Like many an institution struggling to navigate the pandemic, they have chosen to go on-line with their gala this year. For the Love of Lyric Concert is this year’s program.

Soprano Renée Fleming, who has served as Creative Consultant to the Lyric Opera since 2010, will headline the event.

Joining her will be Ryan Opera Center alumna mezzo-soprano J’Nai Bridges, Heather Headley (Tony Award-winner for Aida); bass Soloman Howard and soprano Ailyn Pérez. Doug Peck is the music director.

The program is set to include music from opera, Broadway, popular songs and “some surprising sources.” I’m not quite sure what that means. I guess that is why it will be a surprise.

The event will stream for free on the Lyric Opera of Chicago’s Facebook page a day after it virtually runs for sponsors.

Miscast20 – MCC YouTube Page – September 13th – 8:00 PM EDT/5:00 PM PDT

New York’s MCC Theater (Manhattan Class Company) annually holds an event that is one of the most popular and most-anticipated events every year. It is called Miscast. The concept is rather simple: actors perform songs from musicals that are performed by characters they would never get cast to play.

Take for example this video of Hamilton‘s Jonathan Groff performing Reno Sweeney’s title song from the Cole Porter musical Anything Goes:

I have no idea what songs are going to be performed and by whom during Sunday’s event. But, I can tell you who will be performing:

Tony Award winners Norbert Leo Butz (Dirty Rotten Scoundrels), Heather Headley (Aida) and Leslie Odom Jr. (Hamilton)

Tony Award nominees Robert Fairchild (An American In Paris), Joshua Henry (Carousel), Rob McClure (Mrs. Doubtfire), Lauren Ridloff (Children of a Lesser God), Phillipa Soo (Hamilton) and Adrienne Warren (Tina)

Also joining are Beanie Feldstein (Hello, Dolly!), Ingrid Michaelson (Natasha, Pierre and The Great Comet of 1812), Isaac Powell (Once on This Island) and Nicolette Robinson (Waitress).

There will also be a reunion of the original company of Hairspray including Laura Bell Bundy, Kerry Butler, Tony Award winner Harvey Fierstein, Jean Gambatese, Jackie Hoffman, Kamilah Marshall, Matthew Morrison, Tony Award nominee Corey Reynolds, Judine Somerville, Shayna Steele and Tony Award winner Marissa Jaret Winokur.

Presenters include Jocelyn Bioh, Raúl Esparza, Judith Light, Julianna Margulies, Piper Perabo and Thomas Sadoski.

If you enjoy Broadway musicals, this is truly a must-see event.

Jeremy Jordan with Seth Rudetsky – September 13th – 8:00 PM EDT/5:00 PM PDT

On June 14th, Jeremy Jordan was one of Seth Rudetsky’s first guests in his online concert series. He’s back with a new show as Rudetsky’s guest on Sunday.

In addition to his well-known roles in Broadway’s Bonnie & Clyde and Newsies, Jordan has also appeared in West Side Story, Rock of Ages and Waitress. He was a series regular on Smash and appeared with Anna Kendrick in the film adaptation of The Last Five Years.

Tickets for the show are $25. If you can’t see the show live on Sunday, there is an encore presentation on Monday, September 14th at 3:00 PM EDT/12:00 PM PDT.

Kritzerland 10th Anniversary Show – September 13th – 8:00 PM EDT/5:00 PM PDT

Fans of rare recordings of Broadway musicals and new recordings of lost musicals are well acquainted with Kritzerland Records. They have released recordings of the musicals Anya, Ilya Darling, The Grass Harp and restored recordings of the 1971 production of Follies, House of Flowers and more.

They will be celebrating the 10th anniversary of their live shows with an on-line concert. The show promises to include rarities, well-known material and a few songs that have never been heard before.

The cast includes Daniel Thomas Bellusci, Jason Graae (Wicked tour), Peyton Kirkner, Beth Malone (the 2018 revival of Angels in America), Pamela Myers (original cast of Company), Kerry O’Malley (Billy Elliot: The Musical), Hartley Powers, Sami Straitman, Adrienne Stiefel and Robert Yacko (Mark Taper Forum production of Parade).

They also have one very special guest: Petula Clark. In addition to having hit songs with Downtown and I Know a Place, she has appeared on stage in The Sound of Music, Sunset Boulevard and on Broadway in Blood Brothers.

This concert is free, but donations that will go to The Actors Fund are encouraged. Donations can be made here.

Those are my selections of your Best Bets at Home: September 11th – September 13th. I also have some reminders for you:

Los Angeles area residents can catch this week’s In Concert at the Hollywood Bowl on PBS SoCal on Friday, September 11th at 8:00 PM. This week’s theme is Musicals and the Movies and includes performances by Kristin Chenoweth, Audra McDonald and Brian Stokes Mitchell.

Here are reminders from this week’s Jazz Stream:

Red Baraat are featured in this week’s Fridays at Five from SFJazz on September 11th.

John Scofield Trio will perform from New York’s Blue Note on September 11th.

Bill Charlap Trio performs September 11th and 12th from the Village Vanguard in New York.

Pasquale Grasso Quartet performs September 13th from Smalls.

Here are reminders of this weekend’s schedule at the Metropolitan Opera:

Georges Bizet’s Les Pêcheurs de Perles on Friday; Hector Berlioz’s Les Troyens on Saturday and Jules Massenet’s Werther on Sunday.

Will that suffice? Do you have enough options to keep you entertained this weekend? I hope so and I hope you have enjoyed Best Bets at Home: September 11th – September 13th.

Montage of Miscast performers courtesy of MCC Theater

The post Best Bets at Home: September 11th – September 13th appeared first on Cultural Attaché.

The operas were written by Jules Massenet, Charles Gounod, Hector Berlioz and Georges Bizet. Amongst the performers you’ll see are Anna Netrebko, Piotr Beczala, Diana Damrau, Vittorio Grigolo, Susan Graham, Joyce DiDonato, Jonas Kaufman and Matthew Polenzani.

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 so you’ll have to go past those promos to find the streaming productions. Schedules and timings may be subject to change.

If you read this preview early enough on Monday, September 6th, you might still have time to catch the 2012-2013 season production of Thomas Adés’s The Tempest. 

Here is the line-up for Week 26 at the Met:

Monday, September 7 – Massenet’s Manon 

Conducted by Fabio Luisi; starring Anna Netrebko, Piotr Beczała, and Paulo Szot. This is the Laurent Pelly production from the 2011-2012 season. This is an encore presentation of the production that previously streamed on May 24th.

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.

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.

There is always one main reason why this opera gets produced and the same reason that audiences love it. The soprano title role.

In this production, Anna Netrebko sings Manon.Anthony Tommasini, writing in the New York Times, made all of this abundantly clear in his review of this production and singled Netrebko out for praise:

“The best parts of Massenet’s score are its inspired arias, especially for Manon. In places Ms. Netrebko’s low-range singing had an earthy, almost breathy quality that seemed Russian in character. But when she needed to, she sang melting phrases with silken legato and shimmering beauty, especially her poignant performance of ‘Adieu, notre petite table’ in Act II. Though she does not have perfect coloratura technique, she ably dispatches the roulades and runs, folding them deftly into extended melodic phrases. And she can send top notes soaring.”

Tuesday, September 8 – Gounod’s Roméo et Juliette

Conducted by Gianandrea Noseda; starring Diana Damrau, Vittorio Grigolo, Elliot Madore and Mikhail Petrenko. This Bartlett Sher production is from the 2016-2017 season. This is an encore presentation of the production that was streamed on April 10th.

Shakespeare’s Romeo and Juliet served as the inspiration for this five-act opera by Charles Gounod that had its world premiere in Paris in 1867. The libretto was written by Jules Barbier and Michel Carré.

The opera closely follows Shakespeare’s play about two star-crossed lovers from warring families. Their love only inflames the animosity between the Montagues and the Capulets. No matter what the young lovers do to be together, fate always seems to find a way to make their love impossible. When that happens, tragedy follows.

Director Sher’s production was new to the Metropolitan Opera and had its debut on New Year’s Eve 2017. It was highly anticipated because the chemistry between Damrau and Grigolo had proven to be particularly palpable when they appeared together in Massenet’s Manon in 2015.

In Anthony Tommasini’s review in the New York Times he agreed:

“In scene after scene, these exciting and charismatic artists disappeared into their characters, emboldening each other to sing with white-hot sensuality and impassioned lyricism.”

Wednesday, September 9 – Berlioz’s La Damnation de Faust

Conducted by James Levine; starring Susan Graham, Marcello Giordani and John Relyea. This Robert Lepage production is from the 2008-2009 season. This is an encore presentation of the production that was streamed on May 25th.

Hector Berlioz composed this work in 1845. He never envisioned La Damnation de Faust to be staged as an opera, but rather as a concert work. The first time it was performed as an opera was in 1893. The Metropolitan Opera first performed it as a concert in 1896. It would be ten more years before The Met would present it as a fully-staged opera.

Once again Goethe’s work serves as the inspiration for this story about the deal one man makes with the devil to save the woman he loves.

With Le Damnation de Faust, Lepage made his Metropolitan Opera debut. His extensive use of video in this production was one of the many points of both interest and discussion in 2008. Critics at the time wondered if this was a sign of what his then-upcoming Ring Cycle might be like.

Thursday, September 10 – 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 that was streamed on June 27th.

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.”

Friday, September 11 – Bizet’s Les Pêcheurs de Perles

Conducted by Gianandrea Noseda; starring Diana Damrau, Matthew Polenzani, Mariusz Kwiecień and Nicolas Testé. This Penny Woolcock production is from the 2015-2016 season. This is an encore presentation of the production that streamed on April 3rd.

Les Pêcheurs de Perles (best known to many as The Pearl Fishers) had its world premiere in 1863 in Paris. Bizet’s opera has a libretto written by Eugène Cormon and Michel Carré.

The setting is the island of Ceylon (present-day Sri Lanka) and two men find that their plan to be friends forever regardless of circumstances is threatened when they both fall in love with the same woman. She, too, is conflicted as she has sworn to be a priestess, but finds herself falling in love with the men.

Director Woolcock’s production was new to the Met when it debuted on New Year’s Eve 2015. The production was first staged at the English National Opera in 2010. The last time Les Pêcheurs de Perles had been performed at the Met was 1916.

Saturday, September 12 – Berlioz’s Les Troyens

Conducted by Fabio Luisi; starring Deborah Voigt, Susan Graham, Bryan Hymel and Dwayne Croft. This Francesca Zambello production is from the 2012-2013 season. This is an encore presentation of the production that streamed May 28th.

If you though only Wagner wrote long operas, let me introduce you to this over 5-1/2 hour opera by Berlioz.

Les Troyens was inspired by Aeneid, an poem by Virgil. Berlioz wrote the libretto. The opera had its world premiere in Parisin 1863.

Set in the ancient city of Troy, where the Greeks have “gifted” their enemy with a wooden horse. Cassandra had feared there was a threat and when the Greeks ransacked the city, she and the woman of Troy choose suicide over surrendering.

Prince Aeneas, able to flee Troy, sets sail with his fleet for Italy. Circumstances force him to land at Carthage where Queen Dido falls in love with him. Will their love win out or must Aeneas be faithful to the Gods?

Because it is so long, many opera companies do not regularly perform Les Troyens. Nonetheless, this lengthy work is considered by many critics to be amongst the greatest operas ever written.

Sunday, September 13 – Massenet’s Werther

Conducted by Alain Altinoglu; starring Lisette Oropesa, Sophie Koch, Jonas Kaufmann and David Bižić. This Richard Eyre production is from the 2013-2014 season. This is an encore presentation of the production that streamed May 11th.

Goethe’s The Sorrows of Young Werther was the inspiration for this opera which had its world premiere in 1892 in Vienna. It is not the first opera inspired by Goethe’s novel: Rodolphe Kreutzer wrote one in 1792 as did Vincenzo Pucitta in 1802.

Werther tells the story of a young man who spends some of his time writing poetry and imagining life as he thinks it should be. He falls in love with the daughter of a man who manages a large estate. Things don’t always measure up to his ideal of the world and the title character contemplates suicide. That’s just the first half.

In his New York Times review of this production, Anthony Tomassini said, “To be a great Werther, a tenor must somehow be charismatic yet detached, vocally impassioned yet ethereal. Mr. Kaufmann is ideal in the role. He sings with dark colorings, melting warmth, virile intensity and powerful top notes. There is a trademark dusky covering to his sound that lends a veiled quality to Mr. Kaufmann’s Werther and suits the psychology of the character.”

That’s the complete line-up for Week 26 at the Met. Enjoy the operas and enjoy your week! Bonjour!

Photo: Berlioz’s Les Troyens (Photo by Cory Weaver/Courtesy of Metropolitan Opera)

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Just a quick reminder that each production becomes available for streaming at 7:30 PM EDT/4:30 PM PDT and remains available for streaming for 23 hours. To stream any production, just go to the Met Opera website. Here is the line-up for Week 9 at the Met.

Monday, May 11 – Massenet’s Werther

Conducted by Alain Altinoglu, starring Lisette Oropesa, Sophie Koch, Jonas Kaufmann, and David Bižić. This production was part of the 2013-2014 season.

Goethe’s The Sorrows of Young Werther was the inspiration for this opera which had its world premiere in 1892 in Vienna. It is not the first opera inspired by Goethe’s novel: Rodolphe Kreutzer wrote one in 1792 as did Vincenzo Pucitta in 1802.

Werther tells the story of a young man who spends some of his time writing poetry and imagining life as he thinks it should be. He falls in love with the daughter of a man who manages a large estate. Things don’t always measure up to his ideal of the world and the title character contemplates suicide. That’s just the first half.

In his New York Times review of this production, Anthony Tomassini said, “To be a great Werther, a tenor must somehow be charismatic yet detached, vocally impassioned yet ethereal. Mr. Kaufmann is ideal in the role. He sings with dark colorings, melting warmth, virile intensity and powerful top notes. There is a trademark dusky covering to his sound that lends a veiled quality to Mr. Kaufmann’s Werther and suits the psychology of the character.”

Tuesday, May 12 – Thomas Adès’s The Tempest

Conducted by Thomas Adès, starring Audrey Luna, Isabel Leonard, Alek Shrader, Alan Oke, and Simon Keenlyside. This production is from the 2012-2013 season.

Alex Ross, writing for The New Yorker, said of Adés’ opera (one of at least fifty operas based on Shakespeare’s play), “The Tempest is the opposite of a disappointment; it is a masterpiece of airy beauty and eerie power. As if on schedule, Adès, at thirty-two, is now the major artist that his earliest works promised he would become.”

The Tempest had its world premiere in London in 2004. Between that premiere and its debut at the Met in 2012, there had already been four other productions. Few contemporary operas get that many productions in so short a period of time.

On a personal note, this opera was already compelling because Adés wrote it, but I want to also single out the participation of Isabel Leonard. Every filmed performance I see her give is utterly compelling. From Dialogues des Carmélites to the recently streamed Marnie by Nico Muhly, she sings beautifully and is mesmerizing.

This production was directed by Robert Lepage, who also directed L‘amour de Loin which was part of last week’s schedule of streamed operas.

Wednesday, May 13 – R. Strauss’s Ariadne auf Naxos

Conducted by James Levine, starring Jessye Norman, Kathleen Battle, and Tatiana Troyanos. This production is from the 1987-1988 season.

Obviously having Norman and Battle in an opera together is reason enough to watch Ariadne auf Naxos. But here’s some trivia you might not know: Barbara Bonney (in her Metropolitan Opera debut) and Dawn Upshaw play nymphs in this production.

The production itself dates to 1962 and this 1987-1988 was a remounting of that production.

Thursday, May 14 – Britten’s Peter Grimes

Conducted by Sir Donald Runnicles, starring Patricia Racette, Anthony Dean Griffey, and Anthony Michaels-Moore. This production is from the 2007-2008 season.

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.

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

Friday, May 15 – Donizetti’s Lucia di Lammermoor – Viewers’ Choice

Conducted by Richard Bonynge, starring Joan Sutherland, Alfredo Kraus, Pablo Elvira, and Paul Plishka. This production is from the 1982-1983 season.

Joan Sutherland made her Metropolitan Opera debut in 1961 in Lucia di Lammermoor. When she performed the role in 1959 at the Royal Opera House at Covent Garden it launched her international career. This production marked the last time Sutherland would perform the role at the Met.

Donizetti’s Lucia di Lammermoor is a textbook example of everything opera can do well: great music, the opportunity to hear amazing singing and drama of the highest order.

Saturday, May 16 – Verdi’s Rigoletto

Conducted by Michele Mariotti, starring Diana Damrau, Oksana Volkova, Piotr Beczała, and Željko Lučić. This production is from the 2012-2013 season.

Verdi’s three-act opera had its debut in 1851 in Venice. It was a triumphant opening and Rigoletto is considered to be amongst the composer’s masterpieces.

Enter director Michael Mayer who won a Tony Award for his direction of the original production of Spring Awakening. He came up with the idea of a “Rat Pack Rigoletto” and moved the action to Las Vegas in the early 1960s.

While reviews were mixed for the production, Mayer was prepared for whatever reaction was going to come his way for his production as he told the New York Times prior to the first performance. “I’ve been warned, but some people have said if you get booed at the Met or at La Scala, you know you’re doing something right. In any case, to employ a pun: hopefully the booze I will have ingested prior to that moment will make the boos I hear a little dimmer.” 

Sunday, May 17 – Verdi’s Nabucco

Conducted by James Levine, starring Liudmyla Monastyrska, Jamie Barton, Russell Thomas, Plácido Domingo, and Dmitry Belosselskiy. This production is from the 2016-2017 season.

Audiences first heard Verdi’s Nabucco on March 9, 1842 at La Scala in Milan. The composer said of his work, “This is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star.”

In 2016, Plácido Domingo tackled the title role, written for a baritone, in this opera. He would also perform the part in 2017 with the Los Angeles Opera. He’s spent some time inhabiting Nabucco and reviews were generally positive for his work.

The story is a mix of history, love story and politics. But what most people remember about this particular Verdi opera is the work of the chorus, as evidenced by Zachary Woolfe’s review in the New York Times. “Nabucco is defined by its choruses, much as Rossini’s Guillaume Tell, at the Met earlier this season, is. The company’s ensemble, under the direction of Donald Palumbo, rose to the occasion with massed yet transparent, shimmering singing.”

Nabucco ends Week 9 at the Met. We’ll let you know what Week 10 at the Met looks like next week.

Photo: A scene from Thomas Adés’ The Tempest (Photo by Ken Howard/Courtesy of the Metropolitan Opera)

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