# The Met Saturday Morning Broadcasts are back.....



## Itullian (Aug 27, 2011)

Starting this Saturday at 10 pst, 1:00 est
Opening broadcast.....


*December 10, 2022
Kevin Puts’ The Hours*
New Production/Met Premiere
Yannick Nézet-Séguin; Renée Fleming (Clarissa Vaughan), Kelli O’Hara (Laura Brown), Joyce DiDonato (Virginia Woolf), Kathleen Kim (Barbara / Mrs. Latch), Sylvia D’Eramo (Kitty / Vanessa), Denyce Graves (Sally), John Holiday (Man Under the Arch / Hotel Clerk), William Burden (Louis), Sean Panikkar (Leonard Woolf), Kyle Ketelsen (Richard), Brandon Cedel (Dan Brown)

Discuss them here


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## BBSVK (10 mo ago)

Do you please have the link to the broadcasts ?


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## Itullian (Aug 27, 2011)

BBSVK said:


> Do you please have the link to the broadcasts ?


You can hear them at KUSC.org online.
or an FM station in your area that carries it.


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## Itullian (Aug 27, 2011)

Its Met Opera broascast day folks. 10am pst, 1pm est


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## Rogerx (Apr 27, 2018)

metopera
Important Ticketing Update: While the cyberattack against the Met continues to impact our website and ticketing systems, we are grateful to our friends at @lincolncenter for the Performing Arts, who have allowed us to offer tickets to select performances through their website. General-admission tickets to the December 11 and 14 performances of Verdi’s Rigoletto, as well as the December 13 performance of Verdi’s Aida, can now be purchased online and at the Welcome Center box office at David Geffen Hall for just $50.

Seating will be in the Orchestra section of the opera house, and locations will be assigned by Met ushers on a first-come, first-served basis immediately prior to curtain. Tickets will be issued as e-tickets from Lincoln Center or can be picked up at the Met box office starting one hour before the performance.

We appreciate your patience through this difficult period as we work to resume normal operations.


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## Itullian (Aug 27, 2011)

15 minutes to curtain!!!!!!!!


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## Itullian (Aug 27, 2011)

I listened to the Putt's The Hours broadcast.
While i found the first 20 or so minutes unteresting
it got old quickly after that.
Anyone else hear it?


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## hammeredklavier (Feb 18, 2018)

Kevin Puts The Hours


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## MAS (Apr 15, 2015)

Aren’t the broadcasts back every year?


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## The Conte (May 31, 2015)

hammeredklavier said:


> Kevin Puts The Hours


Where? Where does he put them?

(Sorry, couldn't resist.)

N.


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## AlexD (Nov 6, 2011)

Itullian said:


> I listened to the Putt's The Hours broadcast.
> While i found the first 20 or so minutes unteresting
> it got old quickly after that.
> Anyone else hear it?


Yes. When I heard coffee sung for the 4th or fifth time I gave up. 

Rigaletto next. I enjoyed the cinema broadcast earlier this year. Should be good.


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## Woodduck (Mar 17, 2014)

AlexD said:


> Yes. When I heard coffee sung for the 4th or fifth time I gave up.


I heard "deviled eggs" and "Richard." Not much else.


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## Itullian (Aug 27, 2011)

Next up............

*December 17, 2022
Verdi’s Rigoletto*
Speranza Scappucci; Luca Salsi (Rigoletto), Lisette Oropesa (Gilda), Stephen Costello (Duke of Mantua), John Relyea (Sparafucile), Aigul Akhmetshina (Maddalena)


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## Itullian (Aug 27, 2011)

2 hours to Rigoletto!!!!!!!!!


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## nina foresti (Mar 11, 2014)

Best of all worlds:
You will get to hear Oropesa's gorgeous voice with her fantastic trills without having to sit there in the audience like me and watch a 16 year old high school teenager being petulant toward her Daddy.
Also, you will be saved from having to watch a Duke who they gave nothing to do but pace back and forth with a grin on his face like a deer in headlights. 
The production was awful and that poor Duke seemed out of place. Benjamin Bernheim's voice is simply beautiful and I cannot wait to see him in _Romeo_ next season but his Duke as presented the other day was just not a sexy, impetuous character.
Today's Duke is Costello. I don't see him as a sexy creature either. Ah well, there is always the music. 
Go for it Joe Green!


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## nina foresti (Mar 11, 2014)

I KNEW IT!! I was wondering what was wrong with Salsi's voice. An announcement was just made that he is having voice problems but will continue. It must be difficult for him.


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## Itullian (Aug 27, 2011)

Sounded kinda ordinary to me. Nothing special. A good Rigoletto.
Rigoletto is a masterpiece though, so lad to hear it


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## Itullian (Aug 27, 2011)

Next up............
*December 24, 2022
Mozart’s The Magic Flute*
Abridged English-language version
Performance from December 16, 2022
Duncan Ward; Ben Bliss (Tamino), Joélle Harvey (Pamina), Joshua Hopkins (Papageno), Soloman Howard (Sarastro), Aleksandra Olczyk (Queen of the Night), Rodell Rosel (Monostatos), Alan Held (Speaker)


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## nina foresti (Mar 11, 2014)

The Magic Flute will not be broadcast live. It is a re-broadcast of a previous Magic Flute.


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## Itullian (Aug 27, 2011)

Magic Flute in 2 minutes


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## Itullian (Aug 27, 2011)

Next up..............
*December 31, 2022
Met Debuts On The Air*
Highlights of artists making their Metropolitan Opera debuts during live broadcasts

Long time between live broadcasts


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## Itullian (Aug 27, 2011)

Next up.....................
*January 7, 2023
Cherubini’s Medea*
New Production/Met Premiere
Performance from October 22, 2022
Carlo Rizzi; Sondra Radvanovsky (Medea), Matthew Polenzani (Giasone), Ekaterina Gubanova (Neris), Janai Brugger (Glauce), Michele Pertusi (Creonte)


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## Woodduck (Mar 17, 2014)

Itullian said:


> Next up.....................
> *January 7, 2023
> Cherubini’s Medea*
> New Production/Met Premiere
> ...


I've been neglecting the broadcasts so far, but I'm intensely (and perhaps morbidly) curious about this one. I've watched some video clips from the production, but I'm wondering how the singers will strike me when I can only listen to them. For obvious reasons it will take an effort to come to this without expectations, but I'll try to pretend that I don't know the work at all and keep the temptation to make comparisons at bay. It will help that I haven't listened to yu-no-hu in a long time. One question I hope to have answered is "Why Polenzani?" He used to be a favorite among contemporary lyric tenors.


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## Itullian (Aug 27, 2011)

30 minutes to Medea


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## nina foresti (Mar 11, 2014)

Woody:
I wish I could answer your question about Polenzani (normally a fine tenor but not for this piece).
I saw the production live in HD and was absolutely gobsmacked by Sondra Radvanovky's peformance.
I wanted to hear her without seeing her and I still find her doing a superb job today.
It boggles my mind that some true Callas lovers enjoy Maria's voice but many others cannot stand it. I get this same feeling about the remarks on Sondra's voice as well. I really like it and it is very recognizable among other sopranos -- a good sign sez I.
This role is a backbreaker and she came through like a trouper. She was even taught by the director how to crawl like a snake, which has to be an impossible task while singing at the same time.


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## nina foresti (Mar 11, 2014)

How sad (and a bit surprising). Not one member listened or commented on today's tour de force. Strange.


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## Woodduck (Mar 17, 2014)

nina foresti said:


> How sad (and a bit surprising). Not one member listened or commented on today's tour de force. Strange.


Patience, patience! It just ended 20 minutes ago.


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## nina foresti (Mar 11, 2014)

You really believe anyone listened?


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## Woodduck (Mar 17, 2014)

Until today I knew _Medea_ only from the Callas recordings, mainly the Dallas performance which is the only one in my collection, and it's been well over a decade since I last listened to the opera from beginning to end. I was only nine the year of that performance, Callas has been gone for 45 years, and I've been a "senior citizen" (or so I'm told) for some time now. All of which is to say that hearing _Medea_ today was a fairly fresh experience. 

It's easy to see why this opera, Cherubini's best-known, has been esteemed by other composers over the centuries. It's full of superbly dramatic music, and its title role is one of opera's great characters. I did note that, like many operas, it opens on a somewhat mundane note with a public ceremony, and despite knowing what excitement was to come I caught myself thinking that the music was pretty dull (after a strong overture). A first-rate soprano in the role of Glauce might rescue her unmemorable aria, but we didn't get that today. We didn't get an impressive bass as Creonte either; after listening to Chaliapin, Pasero and Pinza as Oroveso yesterday I realized, hearing an over-the-hill Michele Pertusi, that this is 2023, not 1923. Shucks.

My question, "Why Matthew Polenzani?", wasn't really answered. I was pleased that his sweet-toned tenor still seems in fine shape, and he used it with all the urgency and drama it was capable of. In fact I expected three ladies, a papier mache dragon, and a baritone carrying a birdcage to come to his aid at any moment. Medea could eat this Giasone for lunch, especially if she's as huge-voiced as Radvanovsky, the chandelier-rattling power of whose voice came across loud and clear today. It's a voice that's undoubtedly more loud than clear; its mouthy, occluded timbre somewhat gets in the way of her drawing the sharp, clear, classical lines that characterize Cherubini's style, even at its most dramatic (the ability to project high drama with classical clarity being one of the things that made Callas perfect for the role). I don't want to draw any more comparisons with a portrayal which will no doubt stand incomparable till the end of time, but I did feel that Radvanovsky inhabited the character effectively and left a powerful impression as she unleashed some killer high notes and rushed off at the end, leaving her children dead and everyone else horrified. Take that, Jason!

I suppose I should note that Neris's aria, with its beautiful bassoon obbligato, was competently sung by another of those modern singers whose vibrato tends to hog center stage.


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## nina foresti (Mar 11, 2014)

I appreciate your, as usual, incredibly astute post on this fine opera.
I am also not the least bit surprised that yours is the only critique because I am convinced that many of the members here have a sincere lack of interest in Met productions or opera with today's singers. I guess they're just much more comfortable living in past opera glory.


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## Monsalvat (11 mo ago)

I think that is too easy of a dichotomy. I didn't hear this broadcast, but not because I don't have a sincere interest in contemporary opera staging. I acknowledge that it's my own loss that I missed it. I can't speak for the "many members here" of which you speak, but while I am perfectly content hearing older recordings of opera (or other music), I'm always happy to hear live performances as well. It isn't an either/or for me, and to suggest that I would rather hear old recordings and skip live contemporary ones is far from the truth in my case. This is an art form which is meant to be enjoyed, in any case; castigating those whose habits, tastes, or choices differ from yours seems to me rather counterproductive and unfair.


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## Woodduck (Mar 17, 2014)

nina foresti said:


> I appreciate your, as usual, incredibly astute post on this fine opera.
> I am also not the least bit surprised that yours is the only critique because I am convinced that many of the members here have a sincere lack of interest in Met productions or opera with today's singers. I guess they're just much more comfortable living in past opera glory.


I'd prefer a bit of past opera glory on any given occasion, but I do like to stay open to the possibility of some new glory cropping up. In this case, too, _Medea_ is rarely performed, and I think any new production is a matter of interest. I don't know why more folks aren't chiming in here.


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## tsquare07 (Sep 22, 2018)

People on other medias like Reddit or especially Parterre box ( parterre box ) are very much active on discussing these modern productions. I guess that people over there are somewhat younger but i'm not sure.


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## Itullian (Aug 27, 2011)

This was the first time i really listened to this opera and was impressed.
I heard a lot of Beethoven in the music..
What i thought it lacked was memorable melody like
Fidelio and the great Mozart operas.
It has excellent drama though and is worth listening to.


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## nina foresti (Mar 11, 2014)

Monsalvat said:


> I think that is too easy of a dichotomy. I didn't hear this broadcast, but not because I don't have a sincere interest in contemporary opera staging. I acknowledge that it's my own loss that I missed it. I can't speak for the "many members here" of which you speak, but while I am perfectly content hearing older recordings of opera (or other music), I'm always happy to hear live performances as well. It isn't an either/or for me, and to suggest that I would rather hear old recordings and skip live contemporary ones is far from the truth in my case. This is an art form which is meant to be enjoyed, in any case; castigating those whose habits, tastes, or choices differ from yours seems to me rather counterproductive and unfair.


Castigating? Me? Wow, that's a strong word. I only spoke truth from the way I personally saw it. And never would I presume to insinuate that everyone on this list feels the same way. I believe I said "many" but certainly not "all".
Obviously, you took my comments to be hurtful to you personally. I apologize, for that certainly was sincerely not my intent.


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## Monsalvat (11 mo ago)

nina foresti said:


> Castigating? Me? Wow, that's a strong word. I only spoke truth from the way I personally saw it. And never would I presume to insinuate that everyone on this list feels the same way. I believe I said "many" but certainly not "all".
> Obviously, you took my comments to be hurtful to you personally. I apologize, for that certainly was sincerely not my intent.


Understood, I apologize for misreading your intent then. It can be hard to judge these things over the internet. Though I haven't heard any of the radio broadcasts this season yet, I do intend to hear some of them and I will probably be back on this thread after those, when I have something substantive to say.


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## Woodduck (Mar 17, 2014)

Nina foresti never castigates. She leaves that to disenchanted old curmudgeons like me.


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## Itullian (Aug 27, 2011)

Next up.............
*January 14, 2023
Giordano’s Fedora*
New Production
Marco Armiliato; Sonya Yoncheva (Fedora), Piotr Beczała (Loris Ipanoff), Rosa Feola (Olga), Artur Ruciński (De Siriex)


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