Past enthusiasm has meant sellout houses, so you should consider advance ticket purchase at the box office or on the web.By investing in high-quality capture and production of live opera performances, the Met has expanded its audiences globally and created new revenue streams. A Met premiere for one of Rossini's "serious" operas, Armida (May 1 repeat the 19th), pits Renée Fleming against a battery of six tenors. 6 repeat the 24th), now recognized as among Verdi's greatest operas, occasions Placido Domingo's baritonal debut as the title character, supported by Marcello Giordani and James Morris.Ī starry galaxy for Ambroise Thomas' rarity, Hamlet (March 27 repeat April 14): Simon Keenlyside, Natalie Dessay, Jennifer Larmore and James Morris. 3), including Elina Garanca as the Gypsy, Barbara Frittoli as Michaëla, Roberto Alagna as Don José and Mariusz Kwiecien as the Toreador.
Having enjoyed the Madison Opera's presentation of Bizet's Carmen next month, we can judge the Met's new production (Jan. 9 repeat the 27th): Renée Fleming as the Marschallin, Susan Graham as Octavian and Christine Schäfer as Sophie, joined by Thomas Allen as Baron Ochs. The returned Levine should also conduct Strauss' Der Rosenkavalier (Jan. 6), conductor James Levine, presumably recovered from his now-impending surgery, will lead Joseph Calleja as Hoffmann, Anna Netrebko as his beloved Antonia, and Alan Held as all four villains. Maria Guleghina is in the title role, plus Marcello Giordani and Samuel Ramey.įor another new production, of Jacques Offenbach's Tales of Hoffmann (Dec. There's more spectacle in Franco Zeffirelli's lavish staging of Puccini's Turandot (Nov. 11) comes Verdi's Ada, with Violeta Urmana, Dolora Zajick and Johan Botha.
Super-diva Karita Mattila sings the title role Marcello Álvarez is Cavaradossi, and George Gagnidze is Scarpia. 28, 6:30 p.m.), is already controversial: Luc Bondy's reconception of Puccini's Tosca, bypassing stage directions and stressing eroticism. Augmenting the live Saturday-afternoon transmissions are "encore" repeats.įive of nine scheduled operas will be in new productions.
Above all, the giant-screen projections simulate the Met ambience so vividly that video theater audiences often add their spontaneous applause. But backstage peeks and singer interviews during intermissions work well. The Met has made some stumbles, like the gimmicky visual fragmentation of Tristan und Isolde two seasons ago. On Saturday Marcus Theatres begins the fourth season of "The Metropolitan Opera: Live in HD." Now a welcome annual fixture at Point Cinema, these high-definition video transmissions parallel the familiar radio broadcasts.
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