It’s the 2018-2019 Radio Season
Yes, they’re back. And it’s about time, too! So what does the Met Opera radio and/or Live in HD series have in store for us fans? Anything in the way of bold innovations, newly commissioned works, or plain old favorites?
Looking over the recently received The Metropolitan Opera 2018-2019 Live in HD and Radio Program Guide, I found a lot to admire, but also much to be desired. That’s about par for the course. Since last season’s broadcasts got off to a scandalous start with the revelations concerning former Met Opera music director James Levine, this season the company decided to put a new spin on the series — or, rather, in the orchestra pit.
Taking the podium (and some of the luster) away from maestro Levine will be Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. The Canadian-born conductor will be presiding over three broadcast works: a new Michael Mayer production of Verdi’s La Traviata on December 15, with Diana Damrau as Violetta, Juan Diego Flórez as Alfredo, and Quinn Kelsey as the elder Germont; a revival of Jonathan Miller’s production of Debussy’s Pelléas et Mélisande a month later, on January 19, 2019, with Isabel Leonard and Paul Appleby in the title roles, along with Kyle Ketelsen as Golaud, and Ferruccio Furlanetto as Arkel; and the final radio broadcast of the season (on May 11) of Poulenc’s Dialogues des Carmélites, in the classic John Dexter production from the 1970s, also starring Isabel Leonard as Blanche, Adrianne Pieczonka as Mme. Lidoine, Erin Morley as Constance, Karen Cargill as Mère Marie, and Karita Mattila as Mme. De Croissy.
Although there’s nothing really earth-shaking to this lineup, I am curious to hear Mayer’s take on Traviata. He made quit a splash a few years ago with that glitzy Las Vegas-style Rat Pack Rigoletto. We may get a surprise or two out of this next Verdi work yet! Pelléas is another tantalizing offering. Despite its strictly Symbolist roots, the only completed opera by Claude Debussy is an orchestral tour de force. I am especially eager to hear Signor Furlanetto’s sepulchral tones as old King Arkel, a surprising character role for the celebrated Italian basso. The work of another Frenchman, Francis Poulenc’s Dialogues had a brief resurgence a few years back in a lone run that many listeners (and live audiences) protested was NOT shown in theaters — a bad mark against the Met’s mismanagement of its schedule.
With that out of the way, the actual broadcast season officially kicks off on December 1st with a revival of Robert Carsen’s “out there” production of Boito’s Mefistofele. Frequent readers of my blog know that I am quite fond of this pre-verismo work and have written about it extensively. The opera is one I’ve heard on countless complete recordings as well as seen in a plethora of live and/or YouTube performances featuring Samuel Ramey, Justino Diaz, Ildar Abdrazakov, Giulio Neri, Cesare Siepi, Nicolai Ghiaurov, Erwin Schrott, and others. Angela Meade is scheduled to sing Margherita, with Jennifer Check as Helen of Troy, Michael Fabiano as Faust, and relative newcomer Christian Van Horn (now THERE’S a Devil of a name for you) in the title role. Joseph Colaneri conducts.
December 8 promises the long-awaited revival of Puccini’s Il Trittico. This triptych panel of one-act operas, each lasting about an hour in length, remains (for me) the Italian master’s unquestioned masterwork. Chromatics and late-verismo fireworks abound. The three pieces in question are Il Tabarro, Suor Angelica, and Gianni Schicchi, Puccini’s only comedy. There are humorous asides and sly takes on greedy family members in Schicchi which have made it the odds-on favorite. However, in my view both Tabarro and Angelica take top honors as perceptive studies into the human condition. A mixed cast features the well-proportioned Amber Wagner and Stephanie Blythe, Marcelo Álvarez, and George Gagnidze in Tabarro; the stunning Kristine Opolais, Maureen McKay, and Ms. Blythe in Suor Angelica; and veteran tenor-turned-baritone Plácido Domingo as Gianni Schicchi, with Blythe again, and newcomers Kristina Mkhitaryan and Brazilian tenor Atalla Ayan as the lovers. The conductor is Bertrand de Billy and the production is by Jack O’Brien.
Puccini’s ersatz spaghetti Western, La Fanciulla de West, is on tap for December 22 in Giancarlo Del Monaco’s lavish production. If the name Del Monaco is a familiar one to readers, well, that’s because Giancarlo is the dramatic tenor’s son. This revival boasts a powerhouse cast of Eva-Maria Westbroek as Minnie, the return of Jonas Kaufmann as Dick Johnson, alias Ramerrez the Mexican bandit, and the versatile Željko Lučić as Sherriff Rance. Marco Armiliato conducts.
This Tosca retread has never been as popular as Puccini’s earlier trio of works, to wit La Bohème, Madama Butterfly and the aforementioned Tosca. Jointly with Il Trittico, Fanciulla is Puccini’s most ambitious theatrical realization, an Italian variation on an American theme based on David Belasco’s barnstormer of a play, The Girl of the Golden West. Puccini previously used Belasco and John Luther Long’s one-act Madam Butterfly as the basis for his popular opera of the same name. Unfortunately, lightning did not strike twice with The Girl.
An abridged version of Mozart’s The Magic Flute, in J.D. McClatchy’s English adaptation, is the featured work on December 29. The by-now overplayed Julie Taymor production stars Erin Morley as Pamina, Kathryn Lewek as the Queen of the Night, Ben Bliss as Tamino, Nathan Gunn (an audience favorite) as Papageno, Alfred Walker (who I remember as Wotan in North Carolina Opera’s semi-staged production of Wagner’s Das Rheingold) as the Speaker, and Morris Robinson as Sarastro. Harry Bicket leads the Met Opera Orchestra and Chorus.
There are two more Mozart works on the agenda: Don Giovanni on February 16, starring Luca Pisaroni as the Don, Ildar Abdrazakov as Leporello (I believe they might even be alternating their respective parts during the opera’s run), Rachel Willis-Sørensen as Donna Anna, Federica Lombardi as Donna Elvira, Stanislas de Barbeyrac as Don Ottavio, and Štefan Kocán as the Commendatore, with Cornelius Meister conducting; and La Clemenza di Tito on April 20, with Ying Fang as Servilia, Matthew Polenzani as Tito, Elza van den Heever as Vitellia, Joyce DiDonato as Sesto, and Christian Van Horn as Publio, in Jean-Pierre Ponnelle’s elaborate production. Maestro Lothar Koenigs is in charge of the orchestra.
The New Year brings forth a revival of Bartlett Sher’s production of Verdi’s Otello (Hint: It’s done with lots and lots of mirrors!). Verdi poured every ounce of skill and passion into this penultimate piece, lauded by critics and musicologists as the epitome of Italian operatic art. Taking over as the Moor will be tenor Stuart Skelton, who made a sensational showing two seasons ago in Wagner’s Tristan und Isolde. Desdemona will be taken by Sonya Yoncheva, the only bright spot in this tenor-baritone showcase, along with Alexey Dolgov as Cassio, Željko Lučić as the oleaginous Iago, and James Morris as Lodovico. Gustavo Dudamel will make his Met Opera podium bow leading the combined forces of chorus and orchestra.
Listeners on January 12 will be treated to a rarely performed verismo warhorse in Cilèa’s Adriana Lecouvreur. Not as popular as it once was, the starring role has attracted high-voltage prima donnas from the moment of its 1898 debut — a partial listing of which must include Lina Cavalieri, Claudia Muzio, Magda Olivero, Leyla Gencer, Renata Tebaldi, Raina Kabaivanska, Montserrat Caballé, Renata Scotto, Mirella Freni, and Angela Gheorghiu. But it’s not just a soprano outing! There are juicy morsels for mezzo, tenor and baritone as well. Sparks will surely fly when the scheduled Adriana of Anna Netrebko meets up with Anita Rachvelishvili as the jealous Princess de Bouillon, both of whom are romanced by Piotr Beczala as Count Maurizio, alongside the smitten Michonnet of Ambrogio Maestri. It takes an Italian conductor to pull this piece off to even a modicum of satisfaction. And waiting in the wings is Gianandrea Noseda.
A most offbeat work pops up next on the Met Opera parade of hits, and that work is the January 26 radio premiere of Nico Muhly’s Marnie, based on the Winston Graham novel that also attracted filmmaker Alfred Hitchcock. Marnie was not Hitch’s most-watched film venture, not even with Piper Laurie and Sean Connery as the leads.
I’m not much into our modern-day penchant for bringing motion pictures to the operatic stage. Usually, it’s the other way around, with the order being from stage to film. Film to stage rarely works, but who can tell? Considering how shabbily Mulhy’s previous Met Opera effort, the controversial Two Boys, was treated by the company there might be some hope that Marnie will come off better this time around. Certainly the cast is promising enough, with the ubiquitous Isabel Leonard as Marnie, the dashing Christopher Maltman as Mark Rutland, Janis Kelly as Mrs. Rutland, Denyce Graves as Marnie’s Mother, and Iestyn Davies as Terry Rutland, with Robert Spano presiding. This is another Michael Mayer production, which might give the opera that all-important lift it surely needs to succeed.
Parlez-vous français? Oui, oui, Monsieur!
We then hear Bizet’s ever-popular Carmen on February 2. Starring Clémentine Margaine as Carmen, Roberto Alagna as Don José, Aleksandra Kurzak (Mrs. Alagna) as Micaela, and Alexander Vinogradov as Escamillo, Richard Eyre’s Franco-era production will be conducted by Louis Langrée. With so many French-speaking natives in key roles, one would think the Met management capable of presenting the original opéra-comique production of the work instead of the bowdlerized version (the one with those excruciatingly inappropriate Ernest Guiraud recitatives) currently in use at the house. Not a chance! Not only did Bizet not write this music, but Guiraud eliminated the spoken dialogue after the composer’s untimely death, supplanting them with his own “score.” Guiraud also assisted with the completion of Offenbach’s The Tales of Hoffmann. It’s an intriguing premise: which version to present? Perhaps it’s time for the Met to get back to basics and bring about a change in their perspective.
A double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle appears on February 9. This hit production, directed by the Polish-born Marius Treliński, is thought-provoking and challenging. It paid off handsomely at the box office, mostly due to the pairing of the Russian Anna Netrebko with Polish tenor Piotr Beczala (see Adriana Lecouvreur above). This revival will see the Met’s newest diva, the Bulgarian Sonya Yoncheva, as the blind Princess Iolanta, to include Matthew Polenzani in the high-lying part of Vaudémont, Alexey Markov as Robert, and Vitalij Kowaljow as King René. In place of the star-power that Russian maestro Valery Gergiev generated when he last performed the piece in 2015, we have the less flamboyant but equally capable Henrik Nánási in charge of the Met Opera Orchestra, which in the brooding Bartók work acts as a principal character in conveying the drama inherent in this intensely probing score.
We’ve already mentioned Mr. Mayer’s production of Rigoletto. And on February 23, it will be heard live, with the stratospheric Nadine Sierra as Gilda, Roberto Frontali as Rigoletto, matinee idol Vittorio Grigolo as the Duke of Mantua, Ramona Zaharia as Maddalena, and Štefan Kocán as the assassin Sparafucile (the one with the bottomless low E). Nicola Luisotti is the conductor. On the heels of Verdi’s middle-period gloom we plunge into the comedic world of Donizetti’s La Fille du Régiment on March 2. This Laurent Pelly production (he also designed last season’s delightful rendering of Massenet’s Cendrillon) will feature Pretty Yende as Marie, Stephanie Blythe as the Marquise of Berkenfield, Mexican tenor Javier Camarena as Tonio (the fellow with the nine, count ‘em, nine high Cs!), and Maurizio Muraro as Sulpice.
Two weeks later, more comedy pours forth in the revival of Robert Carsen’s English countryside production of Falstaff, Verdi’s final comment on the state of Italian opera, and on comic opera in general. The all-star lineup includes the gigantic-framed Ambrogio Maestri as Falstaff, Ailyn Pérez as Alice Ford, Jennifer Johnson Cano as Meg Page, Marie-Nicole Lemieux as Mistress Quickly, Golda Schultz as Nannetta, Juan Jesus Rodriguez (who subbed for the late Dmitri Hvorostovsky as the Count di Luna in Il Trovatore) as Master Ford, and Francesco Demuro as Fenton. Trying to keep the orchestral forces in check will be Richard Farnes.
It took Falstaff an inordinate amount of time to be considered an integral part of the standard repertoire. For a late period work from the pen of an acknowledged master such as Verdi, that’s a huge surprise. Such was not the case with Puccini’s Tosca, to be heard on April 6. From the moment of its debut, this once-maligned work has gained in number and variety of performances throughout the years, especially at the Met. This revival, then, of last season’s new David McVicar production stars the up-and-coming Jennifer Rowley as Tosca, Maltese tenor Joseph Calleja, German baritone Wolfgang Koch as Scarpia (an odd choice for this part), and Philip Cokorinos as the Sacristan. Carlo Rizzi will be on the podium. Rowley, you may recall, subbed for an indisposed Patricia Racette in the broadcast of Alfano’s rarely heard Cyrano de Bergerac. She also sang (again, as a last-minute choice) the part of Leonora in Il Trovatore. This promotion to Floria Tosca is a major career step for the budding prima donna. Let’s hope she takes full advantage of the opportunity.
Saint-Saëns’ biblical French pageant Samson et Dalila will debut in a new production by Darko Tresnjak. This version brings back mezzo-soprano Anita Rachvelishvili as Dalila seducing the muscular strongman Samson, sung by Latvian tenor Aleksandrs Antonenko. Laurent Naori, so effective last season as Cendrillon’s father Pandolfe, interprets the High Priest of Dagon, with Tomasz Konieczny as Abimelech (well, it looks and “sounds” like Alberich), and another Wagnerian, Günther Groissböck, portraying the Old Hebrew. Sir Mark Elder presides. Can you say kitsch?
At the tail end of the season, on May 4, the Met revives the highly successful Penny Woodcock production of Les Pêcheurs de Perles (or The Pearl Fishers) by Bizet. The rematch between Pretty Yende as Leila and Javier Camarena as Nadir is guaranteed to win audiences over to their high-wire act above the staff. They’ll be joined by the retuning Marius Kwiecien as Zurga, the third wheel of the plot. Nicolas Testé also puts in a return appearance as Nourabad. Emmanuel Villaume mounts the podium for this one. While not as well known or as perennially popular as Carmen, The Pearl Fishers draws audiences into its exotic world of tropical palm trees with its captivating vocal airs and that famous duet for tenor and baritone.
Of course, I’ve left the best for last: a compete run, on alternate Saturday afternoons, of Wagner’s monumental Der Ring des Nibelungen. This is only the second re-mounting of Robert Lepage’s critically bashed all-digital, all-mechanical Ring. My biggest complaint with the production is the reduced playing area, which also reduced the span and scope of Wagner’s epic drama of greed and lust for power. The tetralogy, as it is known to fans, begins on March 9 with Das Rheingold, with an impressive roster boasting the powerful bass-baritone of Greer Grimsley as Wotan, Jamie Barton as a womanly Fricka, Norbert Ernst as Loge, Tomasz Konieczny as Alberich, Gerhard Siegel as the sniveling Mime, Günther Groissböck as Fasolt, and Dmitry Belosselsky as Fafner. Two weeks later, on March 30, we’ll hear the most popular portion of the Ring dramas, Die Walküre, starring Christine Goerke in her Met role debut as Brünnhilde, Eva-Maria Westbroek as Sieglinde, Jamie Barton reprising her Fricka, Stuart Skelton as Siegmund (a nice segue from Otello), Greer Grimsley as Wotan, and Günther Groissböck as Hunding.
April 13th brings the third work in the cycle, Siegfried, starring Stefan Vinke as the titular man-child, Christine Goerke returning as the sleeping Brünnhilde, Gerhard Siegel as Mime, Michael Volle taking over for Greer Grimsley as the Wanderer (Wotan in disguise), Tomasz Konieczny as Alberich, and Dmitry Belosselsky bellowing smoke and fire as Fafner. The Wood Bird will be taken by coloratura Erin Morley. And ending on a high note, Götterdämmerung brings the cycle to a close on April 27. Christine Goerke gets to sing one of the greatest soprano sequences ever composed, the Immolation Scene. Others in the cast include Andreas Schager as Siegfried, Edith Haller as Gutrune, Michaela Schuster as Waltraute, and Evgeny Nikitin as Gunther. A former Alberich, bass-baritone Eric Owens has been promoted to Hagen, while Tomasz Konieczny wraps things up as Alberich. Keeping it all together will be conductor Philippe Jordan.
And now, a final word about the passing of a legend: the one and only Montserrat Caballé. I first heard that unmistakable, meltingly beautiful voice in the late 1960s, with the first complete stereo recording of Donizetti’s Lucrezia Borgia. Madame Caballé could be politely termed a “full-figure” girl; in fact, her huge frame was a hindrance to swift movements on the stage. She may have been criticized for being too static in her parts, but once she started to sing that golden throat could move mountains.
In her prime, she was at the very pinnacle of coloratura singing. Not only was she a charming presence, she was most generous to her fans and to her colleagues. She sang all the major soprano parts, including Aida, Tosca, Mimi (a memorable Met radio performance with superstar Franco Corelli as Rodolfo), Liu, Luisa Miller, and Marguerite in Faust (her Met debut in 1965, along with that of baritone Sherrill Milnes as Valentin). Later in life, she experienced poor health and had several life-threatening crises during her career. Many fans will remember her duets with rock star Freddy Mercury of Queen — himself, a former student of opera (vide Bohemian Rhapsody). May this real-life “Fat Lady” rest in peace.
Copyright © 2018 by Josmar F. Lopes