Please note: The HD telecast dates and times have been removed from reviews of the operas of previous Metropolitan Opera seasons. Too late for tickets anyway. Also, due to space limitations it was necessary to remove the pages Met Fourteen Fifteen (OM’s first review season of Metropolitan Opera performances) and Regional Fourteen Fifteen (OM’s first season of regional performances). Those were the days, my friends. Some posts, such as OM’s account of Maria Callas at the Met in Tosca, March 19, 1965, will always available.
In Met Nineteen Twenty: just posted in a preview of the 2019-2020 Metropolitan Opera HD season.
In Met Eighteen Nineteen: just re-posted (but without the dates of the performances, which have passed) is a preview of the Met's revival of Wagner’s Der Ring des Nibelungen (5/23/2019, orginally posted 3/8/2019), followed by reviews of Verdi’s superb Falstaff (2/2; posted 2/3/2019), Donizetti’s fun loving La fille du regiment (2/11; posted 2/15/2019), Debussy’s magical Pelléas et Mélisande (1/15; posted 1/18/2019), the new production of Cilea’s Adriana Lecouvreur (1/8; posted 1/10/2019), from 2018 the new production of Verdi’s La Traviata (12/11; posted 12/13/2018, the revival of Puccini’s wonderful Il Trittico (11/26; posted 12/2/2018), the premiere production of Nico Muhly’s Marnie (10/22, posted 10/28/2018), the revival of La Fanciulla del West (10/20; posted 10/24/2018), the new Samson et Dalila (10/1; posted 10/7/2018), and, lastly, a preview of the Met’s 2018-2019 HD telecast series (posted 6/14/2018).
In Met Seventeen Eighteen: find the reviews of the Met's new production of Massenet's Cendrillon (4/17; posted 4/19/2018), Verdi's Luisa Miller (4/9; posted 4/11/2018), Strauss's Elektra (3/12, posted 3/13/2018), a ramble about Rossini's Semiramide (posted 3/5/2018), then more reviews: the revival of Wagner's Parsifal, (2/17, posted 2/19/2018), the revival of L'Elisir d'Amore (1/24; posted 1/26/2018), the Met's new Tosca (1/3/2018; posted 1/5), from 2017 Thaïs (11/15; posted 11/19/17), the Met's premiere production of The Exterminating Angel (10/30; posted 11/3/17), Bellini's Norma (10/3; posted 10/6/2017), and the preview of the Met's 2017-2018 HD season (posted 5/17/2017).
In Met Sixteen Seventeen: find the reviews of the new Der Rosenkavalier (4/24; posted 4/27/2017), the revival of Met's 1982 production of Mozart's Idomeneo (3/13; posted 3/16/2017), the 2011 production of Verdi's La Traviata (3/4; posted 3/7/2017), the 2014 production of Massenet's Werther (2/27; posted 3/1/2017), the 1976 production of Bellini's I Puritani (2/22, posted 2/24/2017), the new Rusalka (2/6, posted 2/8/2017), the new Romeo et Juliette (1/10/2017, posted 1/11/2017), from 2016 the 2001 production of Nabucco (12/12, posted 12/14/2016), the Met's premiere production of L' Amour de Loin (12/6, posted 12/7/2016), the new Guillaume Tell (10/18, posted 10/19/2016), the new Tristan und Isolde (10/3, posted 10/5/2016), then lastly the preview of the complete 2016-2017 season of HD telecasts (posted 5/19/2016).
In Met Fifteen Sixteen, devoted to the 2015-2016 season, are reviews of the Met's new Elektra (4/14; posted 4/16/2016), Donizetti's Roberto Devereux, first time ever at the Met (3/28, posted 3/30/2016), the 2006 production of Madama Butterfly (3/17, posted 3/21/16), the new production of Puccini's Manon Lescaut (2/18; posted 2/21/16), the Zeffirelli production Turandot (1/11; posted 1/13/16), the new Les Pêcheurs de Perles (1/4/2016; posted 1/6/16), from 2015 the new Lulu, (11/5; posted 11/9/2015), from the mid 1970s Tannhauser (10/12; posted 10/15/15) and the Met's new Otello (9/28; posted 9/30/15), and previews of the Met's first HD telecast, Verdi's Il Trovatore (posted 9/25/15) and the Met's complete 2015-2016 season of HD telecasts (posted 8/26/15).
In Met Fourteen Fifteen, now deleted, was devoted to the 2014-2015 season, incidentally OperaMetro's first review season, find reviews of the new production of Cavalleria Rusticana and Pagliacci (4/14, posted 4/15/15), Manon (3/12, posted 3/16/15), the Met's premiere production of Rossini's La Donna del Lago (2/25; posted 2/27/15), the new double bill of Iolanta (Met premiere) and Bluebeard's Castle (2/3; posted 2/6/15), Les Contes d'Hoffmann (1/22; posted 1/23/15), and the new The Merry Widow (1/6; posted 1/8/15), from 2014 reviews of the Met's Hansel and Gretel (12/18; posted 12/19/14), Die Meistersinger (12/6; posted 12/8/14), Il Barbiere di Siviglia (11/18; posted 11/19). Carmen (10/23/14); the Met's new Le Nozze di Figaro (10/02/14), both posted soon thereafter, followed at the bottom by the complete preview of the Met's 2014-2015 HD season (posted 8/14), which was my first Metropolitan Opera post on OperaMetro.com. These were converted on July 6 and 7, 2016.
In Regional Nineteen Twenty: Just posted is the review of Bard’s SummerScape performance of Korngold’s Das Wunder der Heliane (7/28; posted 7/31/2019), followed by a preview (posted 7/24/2019) and, heads up: in Addenda, three arias from Korngold operas, then a review of Princeton Festival’s Nixon in China (6/30; posted 7/8/2019), followed by are two interviews, one with stars of Teatro Nuovo’s La straniera and the other with stars of La gazza ladra (both posted 6/27/2019). Prior to this, an interview with the stars of Princeton Festival’s centerpiece, John Adams’ Nixon in China (posted 6/3/2019).
In Regional Eighteen Nineteen: just posted is a review of the Troupers Light Opera’s production of Sullivan’s Ruddigore in Norwalk (4/6; posted 4/10/2019), followed by a preview of the same, then a preview of the Bronx Opera’s production of Menotti’s The Consul, premiering 1/12/2019, like tomorrow! (posted 1/11/2019), followed, last fall, by a preview of the Hungarian State Opera at Lincoln Center (posted 9/8/2018), then the reviews of the Bard SummerScape’s production of Rubinstein's The Demon (7/29; posted 8/2/2018), Tancredi, Opening Night of Opera Nuovo (7/28; posted 7/31/2018), then the preview of Bard's The Demon (posted 7/13/2018), the interview with Will Crutchfield, whose Teatro Nuovo delivers its premiere season at Purchase College (posted 7/11/2018), an interview with Yulia Lysenko, who stars in Princeton's Festival's Madama Butterfly (posted 5/18/2018), and the preview of Berkshire Opera Festival's summer production of Rigoletto (posted 5/11/2018).
In Regional Seventeen Eighteen: just posted is a review of Bronx Opera's Der Freischütz (5/6; posted 5/10/2018), followed by a review of Il Mikado with Troupers (4/14, posted 4/16/2018), then the preview of Mikado (posted 3/9/2018), an interview with my friend Ben Spierman previewing the Bronx Opera's 2018 season (posted 12/14/2017), and back from last summer, the review of Bard's Dimitrij (7/30/2017; posted 8/4/2017), my Dimitrij preview (posted 6/23/2017), a preview of Caramoor's Il pirata, (posted 6/10/2017), a preview of Princeton Festival's Fidelio (posted 6/1/2017) and a preview of the Berkshire Opera Festival's Ariadne auf Naxos, coming soon in August 2017 (posted 5/26/2017).
In Regional Sixteen Seventeen: well, a review of Troupers' Magic Knight and HMS Pinafore in Norwalk (4/2/2017; posted 4/5) followed by a preview of same (posted 3/23/2017), a review of a wonderful Ralph Vaughan Williams' opera Sir John in Love (1/22/2017; posted 1/24/17), then a preview/interviews about the same (posted 1/13/2017), interviews with the founding family of the Bronx Opera (posted 12/22/2016), a review of the Troupers' Thespis (11/6; posted 11/11/2016), its preview (9/30/2016), then the Berkshire Opera Festival's premiere season featuring Madama Butterfly (posted 7/26/2016), a review of Mascagni's Iris, at Bard's SummerScape (7/24; posted 7/25/2016), a review of the June 26 performance of Peter Grimes at Princeton (6/26; posted 6/29/2016), the preview of Bard's Iris (posted 6/24/2016), the preview/interview with Will Crutchfield concerning this year's Bel Canto at Caramoor (posted 6/14/2016), a preview/interview concerning the Princeton Festival's Peter Grimes in June of 2016 (posted 5/25/2016).
In Regional Fifteen Sixteen: find a review of the Troupers The Sorcerer in Norwalk (4/16, posted 4/18/2016), followed by the preview of same (posted 4/2,2016), then a review of Bard's American Stage Premiere of Ethel Smyth's The Wreckers at Bard College (7/26, posted 7/27/15), a preview/interview with Will Crutchfield about Bel Canto at Caramoor's La Favorite (posted 7/6/15).
In Regional Fourteen Fifteen, (now deleted) had a review of Troupers' Iolanthe at Norwalk (4/11, posted 4/15/15), followed by a preview/interviews for Troupers' Iolanthe in Norwalk (posted 4/8/15), an interview with local opera singer Bob Scrofani (posted 4/6/15), a preview of Curiosity Concerts' H.M.S. Pinafore in Greenwich, a review of Ms. Kroeger's recital Over There (posted 12/17/14), and the prior OperaMetro interview with soprano Brett Kroeger (posted 11/17/14).
In Interviews: an interview about La straniera with Christine Lyons and Alina Tamborini (posted 7/2/2019), followed by an interview with Marina Harris, who sings Magda in Bronx Opera’s The Consul (posted 1/12/2019) followed by interviews with Santiago Ballerini, star tenor of Opera Nuovo's Tancredi (posted July 13, 2018), conductor John Nelson (posted 11/21/2017), then Dan Montez (posted 8/22/2017), a chat with Diana Damrau (posted 5/10/2017), an interview with Elza van den Heever, the Met's dynamite Elettra in Idomeneo (posted 3/15/2017), and a re-posting of OM's at the time exclusive interview with the Met's marvelous mezzo soprano Isabel Leonard, who starred in the Met's Il Barbiere di Siviglia (first posted 11/21/14) but who sang Charlotte in Werther in February, 2017 and, this season (‘18-’19) sings Marnie, Melisande, and Blanche in Dialogues of the Carmelites in May (revised slightly, not much though, on 1/15/2017).
In New Recordings: just posted is Two French Kisses, a ramble on two delightful French operettas, one Chabrier’s L’Étoile and the other Offenbach’s Les Brigands (posted 9/20/2019), followed by my review of four DVDs from past Metropolitan Opera seasons (from the holidays 2015), followed by reviews of two recordings of Tchaikovsky's Iolanta (posted 2/2/15), the San Francisco Opera's Show Boat on DVD (posted 7/10/15), and four DVDs of Wagner's Parsifal (posted 5/27/15).
In Historic Recordings: newly posted in an interview with Alain Lanceron on the new release of Callas Live Remastered (posted 10/4/2017). But I posted again my review of historic recordings of Weber's Der Freischutz, originally posted in fall 2014, followed by reviews of three remastered Pavarotti recordings (posted 1/8/15), a preview/review of Callas Remastered: The Complete Studio Recordings of Maria Callas (posted 12/16/14). Deeper down find reviews of recordings of Rimsky's Legend of the Invisible City of Kitezh on CD and DVD (posted 10/31/14), a deep discography of Gilbert & Sullivan Ruddigore in preparation for NYGASP's 2014 production of Ruddigore in November posted (9/14), topped off by Sony Classical's release of two boxes of historic Met broadcasts, one Verdi, one Wagner (12/24/14).
In Remebrances: just posted (3/16/15) a long dialogue between three fans of Mara Callas celebrating the 50th anniversary of her Tosca at the Met in 1965, as well as two seasoned opera fans remember with OperaMetro the late tenor Jon Vickers, with suggested recordings for those wanting to see/hear him in action (posted 9/9/15).
In Addenda: Just posted is Arias from Korngold operas with Fleming and Lehmann, plucked from YouTube (posted 7/26/2019), followed by an additional interview with the four singers (whose answers to different questions are posted in Regional Nineteen Twenty) from Teatro Nuovo about growing into a career in opera (posted 7/2/2019), actually relating to Phenomenal Points of Entry below, then stuff on Bard’s Dimitrij: Some Background (6/27/2017), followed by an essay on the impact of Wagner's Tristan und Isolde, prior to the opening of the Met's season (posted 9/12/2016), then short asides on Puccini's Turandot (posted 1/13/2016), Thoughts on Berg's Lulu (posted 11/20/2015), Chat about Donizetti's La favorite (posted 7/7/15) and On the Phenomenal Points of Entry in Opera (posted 5/27/15), a digression on, among other things, the experience of the first rapture with an opera as an audience member, this last piece tinkered with, a new sentence or slant on a small point every now and then.