Cher Public

Over the moon

Mariella Devia will augment her already vast bel canto repertoire next year with the role of roles: Bellini’s Norma. Her debut in the part is scheduled for Bologna in 2013.

  • Iphigénie

    Verdi’s Aida (10)
    November 23, 26, 29, December 3, 7, 12, 15m, 19, 22, 28
    Conductor: Fabio Luisi
    Aida: Liudmyla Monastyrska (Nov, Dec. 12, 15) / Hui He (Dec 3, 7, 19, 22, 28)
    Amneris: Olga Borodina
    Radamès: Marco Berti (Nov, Dec 3, 7) / Roberto Alagna (Dec 12, 15, 19, 22, 28)
    Amonasro: Alberto Mastromarino (Nov, Dec 3, 7) / George Gagnidze (Dec 12, 15, 19, 22, 28)
    Ramfis: Stefan Kocán
    The King: Miklós Sebestyén

    Verdi’s Un Ballo in Maschera (10)
    November 8, 12, 15, 19, 24, 27, 30, December 4, 8m, 14
    Conductor: Fabio Luisi
    Amelia: Karita Mattila
    Oscar: Kathleen Kim
    Ulrica: Dolora Zajick (Nov 8, 12, 15, 19, 24) / Stephanie Blythe (Nov 27, 30, Dec 4, 8, 14)
    Riccardo: Marcelo Álvarez (Nov 8, 12, 15, 19, 24, 30) / Roberto De Biasio (Nov 27)
    Renato: Dmitri Hvorostovsky

    Mozart’s The Barber of Seville (7)
    December 18, 22m, 26m, 27, 29, January 3, 5
    Conductor: Yves Abel
    Rosina: Isabel Leonard
    Count Almaviva: Alek Shrader
    Figaro: Rodion Pogossov
    Dr. Bartolo: John Del Carlo
    Don Basilio: Jordan Bisch

    Bizet’s Carmen (13)
    September 28, October 2, 6, 11, 15, 18, February 9, 13, 16, 20, 23m, 26, March 1
    Conductor: Michele Mariotti
    Micaëla: Kate Royal (Sep, Oct) / Ekaterina Sherbachenko (Feb 9, 13, 16, 20, 23, Mar) / Hei-Kyung Hong (Feb 26)
    Carmen: Anita Rachvelishvili
    Don José: Yonghoon Lee (Sep, Oct) / Andrew Richards (Feb, Mar)
    Escamillo: Kyle Ketelsen (Sep, Oct 2, 6, 15) / Dwayne Croft (Oct 11) / Teddy Tahu Rhodes (Feb, Mar)

    Mozart’s La Clemenza di Tito (6)
    November 16, 20, 24m, December 1m, 6, 10
    Conductor: Harry Bicket
    Servilia: Lucy Crowe
    Vitellia: Barbara Frittoli
    Sesto: Elina Garanca
    Annio: Kate Lindsey
    Tito: Giuseppe Filianoti
    Publio: Oren Gradus

    Rossini’s Le Comte Ory (6)
    January 17, 21, 25, 29, February 2m, 5
    Conductor: Maurizio Benini
    Countess Adèle: Nino Machaidze
    Isolier: Karine Deshayes
    Ragonde: Susanne Resmark
    Count Ory: Juan Diego Flórez
    Raimbaud: Nathan Gunn
    The Tutor: Nicola Ulivieri

    Poulenc’s Les Dialogues des Carmélites (3)
    May 4m, 9, 11
    Conductor: Louis Langrée
    Blanche de la Force: Isabel Leonard
    Mme Lidoine: Patricia Racette
    Constance: Erin Morley
    Mère Marie: Elizabeth Bishop
    First Prioress: Felicity Palmer
    Chevalier de la Force: Paul Appleby

    Verdi’s Don Carlo (7)
    February 22, 25, 28, March 6, 9m, 13, 16
    Conductor: Lorin Maazel
    Elisabeth de Valois: Sondra Radvanovsky
    Eboli: Anna Smirnova
    Don Carlo: Ramón Vargas
    Rodrigo: Dmitri Hvorostovsky
    Philip II: Ferruccio Furlanetto
    Grand Inquisitor: Eric Halfvarson

    Mozart’s Don Giovanni (7)
    November 28, December 1, 5, 8, 11, 15, 20
    Conductor: Edward Gardner
    Donna Anna: Susanna Phillips
    Donna Elvira: Emma Bell
    Zerlina: Ekaterina Siurina
    Don Ottavio: Charles Castronovo
    Don Giovanni: Ildar Abdrazakov
    Leporello: Erwin Schrott
    Masetto: David Soar
    The Commendatore: Raymond Aceto

    Donizetti’s L’Elisir d’Amore (10)
    September 24, 27, October 1, 5, 10, 13m, January 30, February 2, 6, 9m
    Conductor: Maurizio Benini
    Adina: Anna Netrebko
    Nemorino: Matthew Polenzani
    Belcore: Mariusz Kwiecien
    Dulcamara: Ambrogio Maestri (Sep, Oct) / John Del Carlo (Jan, Feb)

    Gounod’s Faust
    March 21, 25, 28, April 2, 5
    Conductor: Alain Altinoglu
    Marguerite: Marina Poplavskaya
    Siébel: Julie Boulianne
    Faust: Piotr Beczala
    Valentin: Alexey Markov
    Méphistophélès: John Relyea

    Zandonai’s Francesca di Rimini (6)
    March 4, 9, 12, 16m, 19, 22
    Conductor: Marco Armiliato
    Francesca: Eva Maria Westbroek
    Paolo il Bello: Marcello Giordani
    Malatestino: Robert Brubaker
    Gianciotto: Mark Delavan

    Handel’s Giulio Cesare (10)
    April 4, 9, 12, 19, 22, 27m, 30, May 3, 7, 10
    Conductor: Harry Bicket
    Cleopatra: Natalie Dessay
    Sesto: Alice Coote
    Cornelia: Patricia Bardon
    Giulio Cesare: David Daniels
    Tolomeo: Christophe Dumaux
    Achilla: Guido Loconsolo

    Wagner’s Götterdämmerung (3)
    April 23, May 2, 11m
    Conductor: Fabio Luisi
    Brünnhilde: Deborah Voigt (Apr 23, May 11) / Katarina Dalayman (May 2)
    Gutrune: Wendy Bryn Harmer
    Waltraute: Karen Cargill
    Siegfried: Jay Hunter Morris (Apr 23, May 2) / Lars Cleveman (May 11)
    Gunther: Iain Paterson
    Alberich: Eric Owens (Apr 23, May 2) / Richard Paul Fink (May 11)
    Hagen: Hans-Peter König

    Donizetti’s Maria Stuarda (8)
    December 31, January 4, 8, 12, 15, 19m, 23, 26
    Conductor: Maurizio Benini
    Elisabetta: Elza van den Heever
    Maria Sturada: Joyce DiDonato
    Leicester: Francesco Meli
    Cecil: Joshua Hopkins
    Talbot: Matthew Rose

    Mozart’s Le Nozze di Figaro (6)
    October 29, November 3, 7, 10, 13, 17
    Conductor: David Robertson
    Countess Almaviva: Maija Kovalevska (Oct, Nov 3, 7, 10, 13) / Hei-Kyung Hong (Nov 17)
    Susanna: Mojca Erdmann
    Cherubino: Christine Schäfer
    Count Almaviva: Gerald Finley
    Figaro: Ildar Abdrazakov

    Verdi’s Otello (11)
    October 9, 13, 16, 20m, 27m, March 11, 15, 20, 23, 27, 30
    Conductor: Semyon Bychkov (Oct) / Plácido Domingo (Mar)
    Desdemona: Renée Fleming (Oct) / Krassimira Stoyanova (Mar)
    Otello: Johan Botha (Oct) / José Cura (Mar)
    Cassio: Michael Fabiano (Oct) / Alexey Dolgov (Mar)
    Iago: Falk Struckmann (Oct) / Thomas Hampson (Mar)

    Wagner’s Parsifal (7)
    February 15, 18, 21, 27, March 2m, 5, 8
    Conductor: Daniele Gatti
    Kundry: Katarina Dalayman
    Parsifal: Jonas Kaufmann
    Amfortas: Peter Mattei
    Klingsor: Evgeny Nikitin
    Gurnemanz: René Pape

    Wagner’s Das Rheingold (3)
    April 6m, 25, May 4
    Conductor: Fabio Luisi
    Freia: Wendy Bryn Harmer
    Fricka: Stephanie Blythe
    Erda: Meredith Arwady
    Loge: Stefan Margita
    Mime: Gerhard Siegel (Apr) / Robert Brubaker (May)
    Wotan: Mark Delavan (Apr) / Greer Grimsley (May)
    Alberich: Eric Owens (Apr) / Richard Paul Fink (May)
    Fasolt: Franz-Josef Selig
    Fafner: Hans-Peter König

    Verdi’s Rigoletto (14)
    January 28, 31, February 4, 8, 12, 16m, 19, 23, April 13, 16, 20, 24, 27, May 1
    Conductor: Michele Mariotti (Jan, Feb) / Marco Armiliato (Apr, May)
    Gilda: Diana Damrau (Jan, Feb) / Lisette Oropesa (Apr, May)
    Maddalena: Svetlana Volkova (Jan, Feb) / Nancy Fabiola Herrera (Apr, May)
    Duke of Mantua: Piotr Beczala (Jan, Feb) / Vittorio Grigolo (Apr, May)
    Rigoletto: Željko Lucic (Jan, Feb) / George Gagnidze (Apr, May)
    Sparafucile: Stefan Kocán (Jan, Feb) / Enrico Giuseppe Iori (Apr, May)

    Puccini’s La Rondine (5)
    January 11, 14, 18, 22, 26m
    Conductor: Ion Marin
    Magda: Kristine Opolais
    Lisette: Anna Christy
    Ruggero: Giuseppe Filianoti
    Prunier: Marius Brenciu
    Rambaldo: Dwayne Croft

    Wagner’s Siegfried (3)
    April 20m, 29, May 8
    Conductor: Fabio Luisi
    Brünnhilde: Deborah Voigt (Apr 20, May 8) / Katarina Dalayman (April 29)
    Erda: Meredith Arwady
    Siegfried: Jay Hunter Morris (Apr) / Lars Cleveman (May)
    Mime: Gerhard Siegel (Apr) / Robert Brubaker (May)
    Wanderer: Mark Delavan (Apr) / Greer Grimsley (May)
    Alberich: Eric Owens (Apr) / Richard Paul Fink (May)

    Adès’s The Tempest (8)
    October 23, 27, 31, November 3m, 6, 10m, 14, 17m
    Conductor: Thomas Adès
    Ariel: Audrey Elizabeth Luna
    Miranda: Isabel Leonard
    Trinculo: Iestyn Davies
    Ferdinand: Alek Shrader
    Caliban: Alan Oke
    King of Naples: William Burden
    Antonio: Toby Spence
    Prospero: Simon Keenlyside

    Verdi’s La Traviata (7)
    March 14, 18, 23m, 26, 30m, April 2, 6
    Conductor: Yannick Nézet-Séguin
    Violetta Valéry: Diana Damrau
    Alfredo Germont: Saimir Pirgu
    Giorgio Germont: Plácido Domingo

    Verdi’s Il Trovatore (12)
    September 29m, October 4, 8, 12, 17, 20, 25, January 9, 12m, 16, 19, 24
    Conductor: Daniele Callegari
    Leonora: Carmen Giannattasio (Sep 29, Oct. 4, 8) / Sondra Radvanovsky (Oct 12, 17, 20, 25) / Patricia Racette (Jan 9, 12, 19, 24) / Angela Meade (Jan 16)
    Azucena: Dolora Zajick (Sep, Oct) / Stephanie Blythe (Jan)
    Manrico: TBA (Sep, Oct) / Marco Berti (Jan)
    di Luna: Franco Vassallo (Sep 29, Oct 4, 8, 12, 20) / Ángel Ordeña (Oct 17) / Alexey Markov (Jan)
    Ferrando: Morris Robinson (Sep, Oct) / Christophoros Stamboglis (Jan)

    Berlioz’s Les Troyens (7)
    December 13, 17, 21, 26, 29m, January 1, 5m
    Conductor: Fabio Luisi
    Cassandra: Deborah Voigt
    Dido: Susan Graham
    Anna: Karen Cargill
    Aeneas: Marcello Giordani
    Iopas: Eric Cutler
    Chorèbe: Dwayne Croft
    Narbal: Kwangchul Youn

    Puccini’s Turandot (11)
    September 26, 29, October 3, 6m, 30, November 2, 5, 9, January 2, 7, 10
    Conductor: Dan Ettinger
    Turandot: Maria Guleghina (Sep, Oct 3, 6) / Iréne Theorin (Oct 30, Nov, Jan)
    Liù: Hibla Gerzmava (Sep, Oct 3, 6) / Takesha Meshé Kizart (Oct 30, Nov) / Hibla Gerzmava (Jan)
    Calaf: Marco Berti (Sep, Oct 3, 6) / Marcello Giordani (Oct 30, Nov) / Walter Fraccaro (Jan)
    Timur: James Morris (Sep, Oct, Nov) / Samuel Ramey (Jan)

    Wagner’s Die Walküre (3)
    April 13m, 26, May 6
    Conductor: Fabio Luisi
    Brünnhilde: Deborah Voigt (Apr 13, May) / Katarina Dalayman (Apr 26)
    Sieglinde: Martina Serafin
    Fricka: Stephanie Blythe
    Siegmund: Simon O’Neill
    Wotan: Mark Delavan / Greer Grimsley (May)
    Hunding: Hans-Peter König

    • grimoaldo

      I get the feeling this is not the schedule for Bologna. And did you copy and paste this from a source that has confused Mozart’s Figaro with Rossini’s Barbiere or is that a typo of yours (of the sort we all are prone to which is one thing if we are just chatting amongst each other here but quite another if it is on an official press release).

      “Mozart’s The Barber of Seville (7)”
      ?????

      • Iphigénie

        Oupps sorry for the typo error… was really tired when I wrote this down, please forgive me :S

        • grimoaldo

          Nothing to forgive, we all make mistakes, thanks for the info!

        • Nerva Nelli

          Another imported *Masetto*, courtesy of guess what multi-island nation:

          “Masetto: David Soar”

          Dare I ask if anyone has heard Karen Cargill (Waltraute, Anna)? Is she the new Katherine Pring? The second coming of Linda Finnie?

          And, I’m sorry-- the no-audible-talent Mojca Erdmann as Susanna? With Lisette Oropesa and Layla Claire, to name just two, on hand?

          Plus-- was it the (bought out) Draculette’s idea that needed her countryman Ion Marin--in youth so fondly cherished by some DG executive-- back conducting at the Met???

          • armerjacquino

            That’s odd, Nerva. You’ve always insisted that it’s only the casting of *subpar* British singers that you object to, not British singers per se. And yet here you are being snide about someone you don’t seem to have heard. It’s almost as if…

            Anyway, here’s Cargill.

          • grimoaldo

            ” Is she the new Katherine Pring?”

            I don’t know if you just dig up these names randomly or what but I actually remember Katherine Pring from the ENO back in my schoolboy days and the world could definitely use a new one -- a fiery Carmen, intense Eboli,wonderful Fricka, superb Azucena. As far as I know she did not perform in the US much so did not take work away from anyone there. Not quite sure why her name makes an occasional appearance in your lists of scorn.

          • J. G. Pastorkyna

            I agree with Grimoaldo. Katherine Pring was wonderful. She was the most convincing Carmen I ever saw, and she made the old warhorse sound new. I deplore the Katherine Pring and the Jill Gomez jokes, but I trust it is all in good fun.

          • Ya know, whenever I post anything about *fine* *American* singing, which I do on occasion, no one ever says anything. It’s as if they don’t care about fine American singers who are not *stars.* And, I certainly have a chance to see and hear many of them. Perhaps it has more to do with my *ya know* appeal.

          • Regina delle fate

            Yes, Katherine Pring -- who rarely sang at Covent Garden (as far as I remember only replacing Yvonne Minton as Thea and Janet Baker as Kate Wingrave in revivals those ladies presumably didn’t want to sing) -- was indeed a much-loved and valued member of the Sadlers Wells/English National Opera company when it had a resident ensemble -- I saw her as Carmen, Amneris, Eboli, Fricka, Waltraute -- the Amneris was a bit of a push, but I suspect, if she were around today, we would be very glad to hear her in the part. I think she sings Waltraute on the Goodall Twilight of the Gods, so you can check her out. Otherwise, there isn’t much else on disc to remember her by. The big Verdi roles probably did for her in the end, however, and she ended her stage career singing the Mother Superior in The Sound of Music in the West End and on tour, I’m told.

            RIP Elizabeth Connell, South African mezzo and soprano, by the way.

    • operalover9001

      Damn, Gheorghiu was bought out of her Rondine contract?? I look forward to hearing Opolais! And are they seriously doing Faust again next season?

    • whatever

      did you happen to get the HD schedule?

    • That Aida does not look promising. Borodina doesn’t have teh high notes for Amneris anymore and Radames is not a good role for Alagna. Though I am intrigued by Monastyrska.

      And I notice that Terfel is out of the cycles. Was this always the plan?

      On the positive side, the Parsifal cast looks good. And I look forward to Coote’s Sesto.

      • MATTEI, KAUFMANN, AND PAPE! The best offering of the year IMHO.

      • grimoaldo

        Borodina may not have the ease with the high notes she used to have but there are plenty of singers on this list who don’t have the high notes, the low notes or the in betweensy notes.

        • Bianca Castafiore

          I agree, grimy. At least the Aidas are an improvement over this year.

        • oedipe

          Can Aida be cast any better this day and age?

        • MontyNostry

          Borodina was vocally impressive as Amneris last spring in London. Though she was clearly wary of the higher notes, she didn’t fudge things. Anyway, the lower part of the voice is so sumptuous, that you can forgive her. She didn’t bother to act very much, just doing the grand opera poses, but she got away with it.

    • Liz.S

      Wow…thanks!!! I thought Rebeka could be the alternative cast for Traviata… sad…

      • Bianca Castafiore

        I liked Rebeka a lot in the Carnegie Moïse… Wouldda loved to see her again.

        • Buster

          Rebeka will be Mathilde in the Audi Guillaume Tell -- a co-production with the Met, so she might sing the role there as well.

          • Feldmarschallin

            she is singing the role at Bayerische Staatsoper in the next few years.

          • MontyNostry

            … and Bel raggio features in a recital she’s doing in London in April.
            http://www.rosenblattrecitalseries.co.uk/recital.aspx?key=124

          • Bianca Castafiore

            She’s singing MY aria!!!!!!!!!!!!! Well, I’m sure she’ll be better than Reneigh or the OTHER Marina.

            Wow, those prices seem much cheaper than NY prices.

          • MontyNostry

            Bianca, the Rosenblatt Recitals are sponsored by a law firm, so the tickets are affordable.

    • iltenoredigrazia

      Considering the cost of tickets and traveling to NYC, I may give the Met a pass next season. Kauffman and the Maria Stuarda are the only things that attract me.

    • Hoffmann

      I really hope that Parsifal, Dialogues, Troyens, Maria Stuarda, Giulio Cesare, L’elisir and Tempest get HD broadcasts… Does anyone know the HD schedule?

      • sterlingkay

        All the new productions will get HD broadcasts— Tempest, Rigoletto, Elisir, Maria Stuarda, Parsifal, Ballo, and Giulio Cesare (the Cesare is the Bollywood/McVicar production)…..

        I would think Renaigh would get an HD, which means OTELLO.

        Probably TROYENS as well since Debbie has become an HD “star”…and, at least at the HD I saw, all the grey-hairs were plotzing over her.

        Same for Garanca…so my guess is CLEMENZA will get HD’d.

        Remember that the Barber of Seville is the condensed Family Version for the Holidays (maybe in English translation?). Both HANSEL and MAGIC FLUTE have been
        broadcast in precious seasons…so maybe this will too.

        • sterlingkay

          oops meant previous not precious..:)

        • oedipe

          Am I the only one to whom that Troyens looks pretty schlumpy?

          On the other hand, the Manrico in the first Trovatore cast looks particularly exciting…

          • Camille

            One of my all time favourite tenors as well.

            Perfectly fine casting for Les Troyens…for the 2003 season.

          • LOL Camille.

            Oedipe: If by schlumpy you mean how one feels about the prospect of listening to Debbie’s voice and her French? Yes.

          • oedipe

            Louannd, that’s not far from the truth. I love Les Troyens, but I am not eager to see it with this cast.

          • grimoaldo

            No you are not the only one. I have been keeping my lips zipped about it but since you ask that casting is making me angry. I think it is quite disgraceful. I try to tell myself someone must like Giordani and present day Voigt but to me this is an apotheosis of mediocrity. They were shamefully bad in Fanciulla and here they are again in an immeasurably superior opera and they are going to drag it down to being at best OK. I just don’t see any reason for an artistic institution to exist that is going to devalue great works that way.I could go into a long rant about it but will force myself not to.

          • We want Rant!

            But perhaps this will make you feel better. JDD singing at the Grammy awards:

            httpv://www.youtube.com/watch?feature=player_embedded&v=mX4u0D6k4hw#!

          • grimoaldo

            Thank you louannd that did make me feel better. It is nice to see and hear something excellent when one has been thinking about the likely mediocre results of so much on that list.
            Ironic that it appeared as the first posting under a picture of Devia and an announcement that she is going to be taking on Norma for the first time.
            Devia, Gruberova, June Anderson are still growing and still singing and still inspiring adoration, quite wonderful /legendary opera artists and here is a list of quite another sort.
            I will just say for the moment that if they want to honour Verdi in his bicentennial, fine, I could never get enough Verdi but it is a really rather dull selection of operas they do all the time anyway, Why not I Due Foscari as LA is doing, Aroldo or Giovanna d’Arco or Masnadieri maybe or, let’s say, do both the original St Petersburg version of Forza in alternation with the revision as it is usually done?
            It is very unimaginative rep I think with some truly horrendous casting choices and the thought of Giordani and Voigt who croaked and cracked all the way through Fanciulla doing the same in Troyens is horrendous.
            Then there is my other favourite composer Handel and normally I would be delighted to see a new production of one of his works but Dessay, a singer I enjoyed a lot a few years back, is frankly not someone I want to hear as Cleopatra in her current vocal state. People may laugh at Germany for continuing to give Gruberova prima donna parts, Italy for Devia and France and Belgium for Anderson but at least they continue to deliver the goods.
            That’s enough for right now.

          • Walter von Holzhaufen

            I’ve been looking forward to hearing Susan Graham in Les Troyens again (first time was Paris 2003)but the Met cast does indeed look schlumpy. It might be better to forego the expense and hassle of a trip to the Met and simply watch the DVD from Paris a few more times.

    • Liz.S

      What happened to Grigolo for Alfredo? Will he be in alternative cast?

    • Bosah

      Thank you!

      Good to see Voigt is so washed up, just as predicted here. They’ll never use her again….yup.

    • Bosah

      And also, JOYCE. Excellent. Very much looking forward to her Queens.

      • Lily Bart

        Heh, I won’t have to wait to see Joyce sing Stuarda. I’ll be in Houston in April for a few of her performances.

    • Walter von Holzhaufen

      snoozefest on the Hudson

    • thenoctambulist

      There’s only show for Angela Meade after her breakout year? Why not schedule some Stuarda for her?

      • ianw2

        Because when this season was scheduled and the first batch of contracts were sent out, Meade was still paddling around in young artist programs. Don’t worry too much though, as she’s bound to pick up some of the inevitable cancellations and indispositions.

      • iltenoredigrazia

        How about reviving Il Pirata with Meade? I would suggest Attila too, except it’s such an awful production. I Lombardi back too? Would love to see her in Luisa Miller.

  • jatm2063

    I wonder who is covering this…

  • brooklynpunk

    …ANOTHER Strauss-less season….???…

    : (

    • LittleMasterMiles

      I know, right? I can understand they’re emphasizing the Wagner and Verdi bicentenaries, but if that was going to require a Straussless season next year they could have done some Strauss this year.

    • m. croche

      Even more astonishing: nothing at all from the Warsaw Pact countries. The Cold War lives on, I guess.

      Post-verismo contemporary opera represented with 3 performances of Dialogues and the Ades.

      What an insular season.

      • brooklynpunk

        “What an insular season”

        M.croche:

        That is an exceedingly diplomatic and polite way to put it…!

        While there are a number of potentially interesting evenings of casting, here..it is also quite an earth-bound, hum-drum schedule of works, themselves.

        Especially as this is the bi-centennery of Wagner/Verdi’s birth-- could NOT the powers that be, at The MET, find some other works by these composers that are NOT done every friggin season?

        Other then “The Tempest”..and “Parsifall”.. there is very little here that gets me real excited about the coming season….

        • Personally, I would have been delighted by a Wagner/Verdi pastiche. Oh the fun you could have with that. You could take Verdi’s Lady M. and give her Ortrud’s music just as a start…

      • oedipe

        The Warsaw Pact countries, m.croche? That’s on a different PLANET! Well, part of Germany was in the Warsaw Pact; that seems to be sufficiently representative for most opera houses west of the Oder–Neisse line…

    • Liz.S

      I’m just waiting for 2013/14 season -- crossing my fingers. If the rumour turns true, Jurowski’s ohne schatten will be a treat of all treats…

  • brooklynpunk

    Did The MET really release this on the Friday before a holiday weekend…so that not too many people were paying attention….?

    • grimoaldo

      Yes so much to bitch about there,,,where to start?
      Actually I will restrain myself and say I am looking forward to the Aida, that sounds like it could be pretty good, the Don Carlos with a better prima donna than the one who did the first run, Damrau’s Violetta and Trovatore with Sondra R again (twice in one season, hurrah!)

      • grimoaldo

        Oh and the new Rigoletto has a lot of potential also.

    • sterlingkay

      The MET did not release this….the official announcement is not until next week…sorry to debunk your conspiracy theory.

      • brooklynpunk

        …. “conspiracy theory” is a slightly severe term, no..? ( in other words—lighten up, a little…!)

        ..And..I figured this wasn’t the “official” announcement, as there is no directorial information, included…but I do THANK the poster who supplied this for giving us an advanced notice…!

  • perfidia

    I love me some Mattila, but that Ballo looks scary. As much as she is criticized for being dull, at least Zajick has vocal grandezza. Kim actaully might end up being OK. This is more within her grasp, as opposed to those Zerbinettas that got away from her, hard.

  • eric

    She looks like Teresa Stratas in the picture, doesn’t she?

  • eric
  • atalaya

    Isabel Leonard is really getting pushed hard.

    The Traviata with Damrau and Nezet-Seguin piqued my interest. Somewhat mitigated by Placido.

    Maria Stuarda, Parsifal probable highlights.

    Love Comte Ory but not sure I want to hear Machaidze in it. Wondering if that will sell. I suppose JDF will ensure it does.

    Lisette Oropesa deserves more than the second cast Rigoletto.

    • prunier

      I like Leonard, but I would like to know if anyone has a theory why the Met so often casts a mezzo as Blanche de la Force. At other houses, it is almost always thought of as a lyric soprano role.

      • Camille

        Yes, true that. Interesting question.

        Why not Dessay, or perhaps Miss Oropesa, give her a break?

        • Indiana Loiterer III

          Or even--yes!--Renee Fleming?

          • MontyNostry

            Surely Renaaay would sing Madame Lidoine (and she could probably do it very well, as long as she promised not to mess with those lovely long lines), but she doesn’t really do ensemble operas, does she? Maybe one day we will have her Old Prioress. Imagine all the ‘acting’ she could do!

  • LittleMasterMiles

    Which of these are new productions? Because that Giulio Cesare looked really tired on its last outing, and this is a cast that deserves a new one (though I’m worried about David Daniels’s audibility after The Unenchanting Island).

    • Hippolyte

      You’re worried that you will or won’t be able to hear him?

      In fact, half of the Cesare cast (Coote, Bardon, Daniels) we in the last revival in 2007. And, of course, Coote would be infinitely better as Cesare.

  • Ketelsen said he was on the Met schedule three times this year? I wonder if he is doing one of the Mozart roles too.

  • And frankly, I think I’d be more interested in Cura conducting his own Otello performances rather than Domingo.

    • iltenoredigrazia

      Me too.

  • LittleMasterMiles

    So of the 21 operas offered, a third are by Verdi. Of the 208 performances (by my count) offered, just over a third (71!) are of Verdi. Wagner, whose bicentennial is also allegedly being observed, is in second place with five operas (just under a quarter of the titles), but only 19 performances (under ten percent, tied with Mozart). I know Wagenr is more expensive to mount, etc., and that this shouldn’t be a purely numerical game, but surely besides the three Ring cycles (the same number they do every few years anyway) and Parsifal, couldn’t they have revived Dutchman, Lohengrin, or Tannhauser as well, and cut back the numbers of some of the Verdi revivals (none of which is being done fewer than 7 times, and most 10 or more!).

    And yes, Eastern European and post-Puccini opera (besides Adès) are both woefully underrepresented. I hope the Poulenc at least gets an HD, as it’s such a stunning production.

    • thirdlady

      WHY only three performances of Dialogues des Carmélites? It and the Adès (and maybe the Parsifal), seem like the only tiny sparks escaping from what otherwise resembles an enormous wet blanket.

      Oh, but I forgot: the radical and brilliant new productions are going to redeem this ostensibly dull season…right?

  • mirywi

    The post~Golden Girl predictions of Voigt’s MET demise didnt pan out.

    • Clita del Toro

      If you say so.

    • Bosah

      Yes.

      This just goes to show how wrong and yet how hurtful anonymous memos and unattributed rumors can be.

  • And they are looking for a young soprano as Adalgisa, because Devia wants to perform the version with the duets in the original key. And she will sing Casta diva in G Major. I can’t wait!

    • Camille

      Ercole!

      This is all very good news. Do you know if they are putting back all the cuts --first act duet-- and do you think she will be up to it and have you heard her recently? I would just love to hear it done correctly, ONCE in my life!

      Mille grazie per queste buone notizie.
      Camille

      • Camille, I last heard Devia in the summer in an acoustically unfriendly hall like the Teatro Comunale in Florence, and she was wonderful. She sang the finales of Stuarda, Bolena and Devereux. The voice is now a bit darker than it was 20 years ago, and perhaps takes a little longer (but not much) to warm up. I can’t think of any other singer who sounds like this at 63, after 40 plus years of career. Meanwhile, in November, as someone else said, she debuted Roberto Devereux (in a concert performance). I missed it but have a live recording, and again, it’s amazing. I will hear her in less than a month as Anna Bolena in Florence. Finally, after all these fresh and rich voiced but approximately sung Bolenas I have heard in these last few months, I look forward to a soprano who really understands and is able to deliver what the composer intended. Regarding Norma, I have heard that Devia wants these to be her only Norma performances, so she and conductor Mariotti want to perform the score with no cuts and in all the original keys.

        • Camille

          Thank you so much, and so kindly, for your response, gentil cavaliere.

          I note that there are no dates given in the article but that it shall be given ‘next year’. Accordingly, I will keep an eye out for the Bologna cartellone and on Operabase for Devia’s dates.

          Hoping things go well for you back home.

          Grazie ancora ed arrivederci- C.

  • oedipe

    Devia sang Elisabetta (Roberto Devereux) for the first time in her career last November in Marseille. I am very sorry I missed it.

    • iltenoredigrazia

      oedipe, thanks from the bottom of my heart for posting that clip. That scene always tears me up. Definitely one for my desert island.

      • oedipe

        My pleasure. As I said, I am sorry I didn’t go to the concert; the blogosphere was raving about it afterwards.

  • Bianca Castafiore

    I don’t even know where to start… Are you people serious?????? Do the morons in charge of casting at the Met have any ears or taste????? Smirnova for Eboli again?????? Voigt for Cassandre and Brünnhilde ????? Are these people retarded??????

    I see no Calleja in the schedule either. No Sementchuk???? Or Baird or Matos????? But Voigt???? She must have a good agent and PR people, cause a frog could croak as well as she and it’d cost less.

    Do we need a zillion more perf. of Trov????? Aida????? Traviata???? Elisir???? All that Mozart and fluffy Rossini????? No Strauss???? No Janacek or any other Slavic operas????

    Unbefuckinglievable.

    • grimoaldo

      “I don’t even know where to start… Are you people serious?????? Do the morons in charge of casting at the Met have any ears or taste????? ”

      I know. That’s what I said too “where to start?” This isn’t official do you suppose it’s all some dreadful mistake? A bad joke? I don’t feel right about saying what I really think of this season as detailed here, it would be too negative.

      • Has the Royal Opera House announced their season yet?

        • grimoaldo

          The only thing announced for ROH season so far I believe is Ring cycles at the start of the season:
          http://www.roh.org.uk/whatson/thering/index.aspx

          • MontyNostry

            And it only takes three clicks to find out who’s singing. When is the new ROH website going live? It is really the pits as it is at present.

          • iltenoredigrazia

            Yes, I thought the same thing. It used to be that the casts were a selling point. Now it looks like they are trying to hide them. Three clicks and then find out that Bullock will be the Brunnhilde. :(

    • Satisfied

      Lordy please stop the ?????????????????????????????????????????????????

    • mrmyster

      Mme Bianca: You ask ‘are these people retarded?’ Yes!
      First of all, I don’t take the Voigt casting too seriously.
      I heard her say, on a live tv interview less than two weeks
      ago that she would not sing the Gdmrng Brunnhilde again,
      and I think that is very wise. These castings are done waaay
      ahead, and often do not pan out. DV’s problems with pitch
      could be deadly in the French. The range may be comfortable
      but the music may not be.
      I see a lot of ‘down’ casting -- Christine Schaeffer as
      Cherubino? Huh? An over the hill lyric coloratura singing
      that very mezzo role? Charles Castronovo as Ottavio
      when everyone is thirsting for more of Ramon Vargas in
      the part. Cura? Domingo? OY!, as we Presbyterians say.
      Some of this casting will undoubtedly change, but it is
      over-all a dull looking year. Go to the smaller houses in
      the so-called regional opera companies: that’s where
      the good stuff is. Poor Isobel Leonard and poor Kate
      Lindsay — they are going to be ruined by the Met —
      they are 1800-seat house singers; should stay on the
      European circuit, the festivals and the smaller American
      houses.
      In the opera business, if you don’t
      take care of yourself you’ve got a problem — because
      nobody else will. Managers and opera intendants are
      just going to use you up! Take Dorothy Kirsten’s
      advice: say no!

      • armerjacquino

        ‘that very mezzo role’

        Bad news for Suzanne Danco, Hilde Gueden, Edith Mathis, Evelyn Lear, Teresa Stratas…

        Schafer’s a noted Cherubino- she sings the role beautifully on the Harnoncourt/Salzburg recording from Salzburg.

        I find your objection to Castronovo extraordinary: here’s a fine, young (American) lyric tenor cast in exactly the kind of assignment the Met should be giving him. Vargas is a good Ottavio but it’s hardly as if he’s the only person alive who should be singing it.

        From my perspective as someone who has to shell out a great deal of money and cross and ocean if I want to go to the Met, there’s much more to tempt me in next season’s programme than there was in this season’s.

        • My first opera recording was Nozze di Figaro with Teresa Stich-Randall as the Countess, Rita Streich as Susanna, and in the very mezzo role of Cherubino? Pilar Lorengar.

        • mrmyster

          Well jacquino, if I may say so: chacun a son gout.
          Or, does that apply to our AngloSaxon cousins?
          I think it does. I do like a mezzo as Chrubin, and
          weren’t you around for the unexpected and wonderful
          success Ramon Vargas had with Ottavio earlier this
          season -- it was broadcast, btw. My real point was
          that the Met seems to be casting more second
          string singers than usual. I don’t think that’s news
          with Gelb; it is just getting more so.
          Cheerio.

          • MontyNostry

            … but some of them are decorative second-string singers with contracts with major record companies.

          • armerjacquino

            We’re weren’t discussing personal taste though, were we? You may prefer a mezzo as Cherubino (just as I prefer a mezzo Rosina) but the fact remains it has been sung, and well sung, very well by lyric sopranos over the years, a fact of which you were seemingly unaware in your original post.

            And yes, Vargas was good. I heard the broadcast and have seen him in the role at CG. I just don’t see why that means he MUST be cast as Ottavio WHENEVER the opera is done.

          • MontyNostry

            For what it’s worth, I think a soprano Cherubino (of the right kind) is a good idea. Just as with the Komponist, I am tired of hearing mezzos whose voices don’t sit quite right for the role (and that’s not all mezzos) getting uncomfortable with certain phrases. And in a short role like Cherubino those phrases represent a high percentage of the money notes, as it were. Schaefer is a slightly weird singer, and she’s past her sell-by date for Cherubino, but I can see that the voice ought to work in the role.

        • 98rsd

          Schaefer was wonderful when I saw her in Salzburg, but that was a while ago.

          Castronovo was an ordinary Ferrando in Santa Fe (Un aura amorosa had no magic)--other than in appearance, how could he possibly match Vargas’ Ottavio of last year? I’m not a huge Vargas fan, but I’ve never heard Ottavio sung better.

  • Bianca Castafiore

    And enough of Giordani and Alvarez.

    Who’s Cleveman anyway???? Hopefully an improvement over Morris.

    • armerjacquino

      Lars Cleverman is the Don Carlo on the Naxos recording from Stockholm, notable only for Mattei’s wonderful Posa (and the world’s worst Eboli).

      • Bianca Castafiore

        I’m afraid to ask who that is — although Smirnova herself was pretty abismal in the role.

        • armerjacquino

          One Ingrid Tobiasson, who doesn’t have the flexibility for the Veil Song, and slowly drowns in O Don Fatale.

          • MontyNostry

            She can’t be quite as bad as the mezzo who sang Eboli for the Maryinsky’s visit to the ROH in 2001. Borodina was billed for that evening, but this other woman appeared instead.(Borodina in fact appeared on the other night of the run, though no-one was told this was happening either!)I could tell from the first notes of the Veil Song that it would be a disaster and she actually ran out of voice by the end of O don fatale. It was deeply embarrassing. I complained so vociferously to the ROH about the misinformation (which remained on their website the following week) that I got some freebies out of them!

  • Donna Anna

    Meh.
    Parsifal will certainly get the HD for no other reasons than Jonas, Pape, and Mattei. I might just check it out because if anyone is going to block my internal speakers from hearing “Oh Bwoonhilde, be my wuv!!” it would be those three.

  • DharmaBray

    Any indication of the directors and designers for the new productions? Assume the Figaro director is Michael Grandage. Interested to know who will do Parsifal!

    • I think David Alden is directing the Ballo. That certainly will make it interesting.

    • oedipe

      I believe Parsifal will be directed by the Canadian director François Girard.

  • sterlingkay

    Oh please stop clutching your pearls! It’s not like any of this is a huge surprise to anybody who had been paying attention to the MET FUTURES page. And we go through the same “worst season ever” schtick every year.

    Bart Sher is doing ELISIR/Lepage THE TEMPEST/David McVicar both STUARDA & GIULIO CESARE/Francois Girard PARSIFAL/David Alden BALLO..

    I’m not sure about the RIGOLETTO-- it was supposed to be Bondy but I heard Gelb cancelled that when he saw the production last year in Vienna…so who knows?

    • thirdlady

      Oh, what joy! A new Bart Sher production! That certainly makes the heart beat faster. Can’t wait to see what enormous, literal prop will descend from the flies…or what brilliant variation on “opera within opera” he will grace us with…

      Faced with the prospect of yet more Sher/McVicar/Lepage sub-Broadway crap, it seems infinitely preferable to take the not inconsiderable sums normally allocated in this household to Met tickets and spend them traveling to Paris/Madrid/Munich/Berlin--or pretty much anywhere other than New York--to see some actually interesting productions…will try to stay in town for the Alden Ballo, though…

      • Camille

        Thirdlady, would you mind being joined by a second lady,namely,me?

        Next stop: Nashville Fanciulla.

        • Bianca Castafiore

          Camillissima, who’s singing that? Lori Phillips?

    • brooklynpunk

      “And we go through the same “worst season ever” schtick every year.”

      Sterling:

      Yes…THAT in itself can get to be a mite tiresome..EXCEPT FOR THE FACT THAT each season, in (my) recent memory SEEMS to have been pogressively WORSE then the one that came before…so perhaps there’s a trend here…..?

      No “pearl-clutching” either… just utter disappointment at such leaden, uninteresting sounding casting/ programming

      • sterlingkay

        Well…I have been hearing the same stupid nonsense for forty years. I remember when Scotto and Troyanos were singing everything at the MET and the queens couldn’t stop bitching about how AWFUL they were and how the MET knew nothing. And Cotrubas(“what does Levine see in her?”),and Zylis Gara (“she’s in everything!”)….and Tomowa-Sintow (“you can’t hear her in Family Circle”)….and Stratas (“she has no voice…is the MET deaf?)and Behrens and on and on…

        • Bianca Castafiore

          If you can’t tell the difference between the above singers, and the croaking/no-middle-and-no-low-notes Voigt, then, yes, you are deaf; or worse.

          • Bosah

            I knew a lady once who was constantly, annoyingly complaining about every thing she heard. She couldn’t figure out how other people didn’t hear what she was hearing. Then, she went to the doctor and found out she needed a hearing aid.

          • Bianca Castafiore

            Funny, and to what do you attribute your endless, brainless and incessant cheer leading of Voigt? Perhaps you need not only hearing but visual aids.

            And if you could read, you might figure out there’s not only just one person who thinks Voigt needs to retire, but a crowd.

          • Bosah

            Yes, I did think it was funny. Thanks for noticing! LOL.

            Something this brainless excuse for an opera fan has noticed is that a few here make the mistake of believing their most learned opinions are those of the majority of opera-goers. This is, oh so sadly, not the case.

            Think of me as one of the sad, unfortunate masses who just loves opera and tries to focus on the good things in whatever I see or hear.

            I suppose I just have no standards. Poor me, forever doomed to … gulp… enjoy things! ;)

            While I’m not deaf to Voigt’s vocal struggles in some areas, they don’t bother me enough to cause me the obvious distress they cause you. But then, I don’t think anything causes me that level of distress!

            Thanks again for noticing.

          • Bianca Castafiore

            It’s good to have no standards.

            Do me a favor? Never reply to my posts again. I don’t have the time for people like you.

          • Bosah

            Seriously? Wow. Defensive much? Prickly just a bit?

            And here I thought we were joking around. Okay. You don’t have time for me and I’m thrilled I don’t actually have anyone in my life like you.

          • Bosah

            Some can dish it, but apparently are too weak to take it.

          • Bianca Castafiore

            Joking around? Sorry, precious, you are obviously not equipped for that.

          • Bosah

            Yes, obviously I’m the one unequipped to deal with this conversation. Sorry … sweetie … I wasn’t the one who ran away. Glad you came back though.

            And I still like Voigt. Ha.

          • Bosah

            Oh… and I love Fleming. But not Netrebko. Sorry….

          • Bianca Castafiore

            Well, dung beetles love dung too…

          • Bosah

            Ok, I give you that point. That made me laugh out loud. Yes, I’m dung now. Well… I’ve probably been thought of as worse. ;)

          • quoth the maven

            Bosah--Just out of curiosity, can you tell us what it is about Voigt that you like? (Perhaps you have done this elsewhere.)

          • Feldmarschallin

            well maybe he likes Voigts way with the text. How she can turn herself into any opera character and make you believe she is Sieglinde or Ariadne or Isolde. The passion of her singing and her gleaming on pitch high notes and the luxorious middle register which is really a thing of beauty. On the other hand…

        • mrmyster

          sterling kay: I didn’t know you’d been around
          for forty years. Really? Wow!

          • sterlingkay

            Oh, honey, I’ve been around for a lot longer than 40 years!!

          • Clita del Toro

            Feldmarschallin: I agree. Voigt’s way with the text would put Waltraud Meier or Martha Mödl to shame. Her gleaming tops would have made Birgit quit opera. Her Salome at LOC has made us all forget Ljuba Welitsch’s. OY VEY!