Cher Public

The Met in 2013-2014, a more copious leak

Following up on last night’s information dump of the (overdue?) Met season announcement for 2013-2014, La Cieca has obtained a somewhat more detailed rundown, following the jump.  

Eugene Onegin [ENO production, Sept. 23, 26, Oct. 1, 5m, 9, 12, 16, 19, Nov. 23, 29, Dec. 2, 5, 12] with Anna Netrebko/Marina Poplavskaya, Oksana Volkova/TBA/Elena Maximova, Piotr Beczala 7x/TBA/Rolando Villazon 5x, Mariusz Kwiecien/TBA/Peter Mattei, Alexei Tanovitski/Stefan Kocan, John Graham-Hall (Triquet), c. Valery Gergiev/TBA/Alexander Vedernikov, dir. Deborah Warner

Cosi fan tutte (Sept. 24, 28, Oct. 2, 5, Apr. 23, 26m, 30, May 3, 8, 4x fall, 5x spring as replacement for Mahagonny) with Susanna Phillips/Guanqun Yu, Isabel Leonard/TBA, Danielle de Niese, Matthew Polenzani, Rodion Pogossov, Maurizio Muraro/TBA, c. James Levine

The Nose (Sept. 28m, Oct. 3, 8, 12m, 17, 22, 26m) with Andrey Popov (Police Inspector), Alexander Lewis (The Nose), Paulo Szot/TBA, Vladimir Ognovenko, Claudia Waite, Brian Frutiger, Grigory Soloviov, Brian Kontes, c. Valery Gergiev

Norma (Sept. 30, Oct. 4, 7, 10, 14, 18, 24, 28, Nov. 1) with Sondra Radvanovsky/Angela Meade, Kate Aldrich/Jamie Barton, Aleksandrs Antonenko, James Morris/Ievgen Orlov, c. Riccardo Frizza

A Midsummer Night’s Dream (Oct. 11, 15, 19m, 23, 26, 31) with Kathleen Kim/TBA, Erin Wall, Elizabeth DeShong, Iestyn Davies, Joseph Kaiser, Barry Banks, Michael Todd Simpson, Matthew Rose, Patrick Carfizzi (Quince), c. James Conlon. (Fall 2013 is Britten centenary).

Two Boys [commissioned work by Nico Muhly with libretto by Craig Lucas, Oct. 21, 25, 30, Nov. 2m, 6, 9] with Jennifer Zetlan/TBA (Rebecca/Mindful_16), Caitlyn Lynch (Cynthia, Jake’s Mother), Alice Coote/TBA (Deputy Inspector Anne Strawson), Sandra Piques Eddy (Secret Agent Fiona), Judith Forst (Anne’s Mum), Paul Appleby/Nicky Spence (Brian), Noah Baetge (Liam the Detective Constable-tenor), (Real Jake-treble), Christopher Bolduc (Jake’s online Avatar-baritone), Keith Miller (Peter, bass-baritone).  c. David Robertson, dir. Bartlett Sher, des. Michael Yeargin, co-production with English National Opera.

Tosca (Oct. 29, Nov. 2, 5, 9m, 13, 16m, Dec. 11, 14, 17, 20, 23, 28m) with Patricia Racette/TBA/Sondra Radvanovsky/Elisabete Matos, Roberto Alagna/ Marcello Giordani/Ricardo Tamura, George Gagnidze/TBA, John Del Carlo, c. Riccardo Frizza 6x/Marco Armiliato 6x

Die Frau ohne Schatten (Nov. 7, 12, 16, 20, 23m, 26) with Anne Schwanewilms/ Meagan Miller, Christine Goerke, Ildiko Komlosi, Torsten Kerl/TBA, Johan Reuter/TBA, Richard Paul Fink, Allan Glassman (Hunchback), c. Vladimir Jurowski

Rigoletto (Nov. 11, 15, 18, 21, 27, 30, Dec. 4, 7m) with Alexandra Kurzak/TBA, Oksana Volkova, Matthew Polenzani, Dmitri Hvorostovsky/ TBA, Stefan Kocan, c. Pablo Heras-Casado

Der Rosenkavalier (Nov. 22, 25, 30m, Dec. 3, 7, 10, 13) with Martina Serafin/TBA, Mojca Erdmann/Erin Morley, Elina Garanca (3x)/Daniela Sindram (3x)/TBA, Eric Cutler/Mario Chang, Hans-Joachim Ketelsen/Kyle Ketelsen, Peter Rose/TBA, John Graham-Hall (Valzacchi), c. Edward Gardner

Falstaff [new production borrowed from Covent Garden, dir. Robert Carsen, des. Paul Steinberg, Dec. 6, 9, 14m, 18, 21m, 27, 30, Jan. 3, 6, 11] with Angela Meade/ TBA, Lisette Oropesa/TBA, Jennifer Johnson Cano/TBA, Stephanie Blythe/TBA, Paolo Fanale, Franco Vassallo (Ford), Ambrogio Maestri/Nicola Alaimo, c. James Levine

The Magic Flute [abridged English version, Dec. 16, 21, 24, 26m, 28, 30m, Jan. 2, 4m] with Heidi Stober/Mary Dunleavy, Albina Shagimuratova/Kathryn Lewek, Alek Shrader/Matthew Plenk, Nathan Gunn/John Michael Moore, Shenyang/Julien Robbins, Eric Owens, c. Jane Glover

Die Fledermaus [Dec. 31, Jan. 4, 7, 11m, 15, 18m, Feb. 3, 5, 8, 11, 13, 15m, 20, 22], with Susanna Phillips (Rosalinde), Christine Schafer/Jane Archibald (Adele), Anthony Roth Costanzo (Orlofsky), Michael Fabiano/ Alexander Lewis (Alfred), Christopher Maltman (Eisenstein), Paulo Szot (Falke), Teddy Tahu Rhodes (Frank), c. Adam Fischer, dir. Jeremy Sams, des. Robert Jones, lights Jennifer Schriever

L’elisir d’amore (Jan. 9, 13, 17, 21, 25m, 29, Feb. 1) with Anna Netrebko, Ramon Vargas, Nicola Alaimo, Erwin Schrott, c. Maurizio Benini.

La Boheme (Jan. 14, 18, 22, 25, 30, Mar. 19, 22, 26, 29, Apr. 2, 5m, 10, 14, 18) with Maija Kovalevska/Anita Hartig/Barbara Frittoli (Mimi), Irina Lungu/Jennifer Rowley/Susanna Phillips, Joseph Calleja/Vittorio Grigolo/ TBA, Alexey Markov/Massimo Cavalletti, Joshua Hopkins/Patrick Carfizzi, Christian Van Horn/Nicolas Testé/Oren Gradus, Donald Maxwell/Philip Cokorinos, c. Stefano Ranzani.

Madama Butterfly (Jan. 16, 20, 24, 28, Feb. 1m, 7, Apr. 4, 9, 12, 15, 19, May 1, 5, 9) with Amanda Echalaz/Kristine Opolais/Hui He (Cio-cio-san), Elizabeth DeShong/Maria Zifchak, Bryan Hymel/Adam Diegel/James Valenti/Gwyn Hughes Jones, Scott Hendricks/Dwayne Croft (Sharpless), c. Philippe Auguin 6x/Marco Armiliato 5x/Fabio Luisi 3x

Rusalka (Jan. 23, 27, 31, Feb. 4, 8m, 12, 15) with Renee Fleming, Emily Magee, Dolora Zajick, Piotr Beczala, John Relyea, Vladimir Chmelo (Gamekeeper), c. Yannick Nezet-Seguin

Prince Igor [Feb. 6, 10, 14, 17, 21, 24, Mar. 1m, 4, 8] with Oksana Dyka (Yaroslavna), Anita Rachvelishvili (Konchakovna), Sergei Semishkur (Vladimir Igorevich), Ildar Abdrazakov (Prince Igor), Mikhail Petrenko (Vladimir Yaroslavich aka Prince Galitsky), Stefan Kocan (Konchak Khan), Vladimir Ognovenko (Skula), c. Gianandrea Noseda/Pavel Smelkov, dir. and des. Dmitri Tcherniakov, chor. Alexei Ratmansky

Werther [Feb. 18, 22m, 25, 28, Mar. 3, 7, 11, 15m] with Lisette Oropesa, Elina Garanca/ TBA, Jonas Kaufmann/TBA, David Bizic (Albert), Jonathan Summers, c. Alain Altinoglu, dir. Richard Eyre, des. Rob Howell

The Enchanted Island (Feb. 26, Mar. 1, 5, 8m, 12, 15, 20) with Danielle de Niese, Andriana Chuchman, Susan Graham, David Daniels, Anthony Roth Costanzo, Placido Domingo, Luca Pisaroni, Andrew Stenson (Demetrius), c. Patrick Summers

Wozzeck (Mar. 6, 10, 13, 17, 22m) with Deborah Voigt, Simon O’Neill, Peter Hoare, Thomas Hampson, Clive Bayley. Replacement for Parsifal. c. James Levine

La Sonnambula (Mar. 14, 18, 21, 25, 29m, Apr. 1) with Diana Damrau, Javier Camarena/Taylor Stayton, Michele Pertusi, c. Marco Armiliato

Andrea Chenier (Mar. 24, 28, 31, Apr. 5, 8, 12m) with Patricia Racette, Olesya Petrova (Madelon), Marcelo Alvarez, Zeljko Lucic, c. Gianandrea Noseda

Arabella (Apr. 3, 7, 11, 16, 19m, 24) with Malin Bystrom/Erin Wall, Genia Kuhmeier, Audrey Elizabeth Luna (Fiakermilli), Catherine Wyn-Rogers (Adelaide), Roberto Sacca (Matteo), Michael Volle (Mandryka), John Del Carlo (Waldner), c. Philippe Auguin

I Puritani [Apr. 17, 22, 26, 29, May 3m, 7, 10] with Olga Peretyatko/TBA, Lawrence Brownlee, Mariusz Kwiecien, Michele Pertusi, c. Michele Mariotti

La Cenerentola (Apr. 21, 25, 28, May 2, 6, 10m) with Joyce DiDonato/TBA, Juan Diego Florez, Pietro Spagnoli (Dandini), Luca Pisaroni (Alidoro), Alessandro Corbelli (Magnifico), c. Fabio Luisi.

  • operaassport

    Except for 3, maybe 4 things, it all looks rather dreary.

  • Drelnis

    Opalais told me she accepted 2nd cast for Rusulka. Is that not the case?

  • RichardCarter

    Rotten luck you’re getting the ENO Onegin: it’s a truly dreadful production that I couldn’t bear to look at.

    • Regina delle fate

      Truly dreadful? Compared with some ENO stuff it seemed at best competent, but drearily traditional apart from setting all of the first five scenes in a barn. The sad thing is that the Met is ditching the beautiful Carsen production for this backward-looking staging. Pity the Royal Opera can’t buy it and ditch their new Kasper Holten fiasco….

      • RichardCarter

        I should have said a little more on why it was so awful. Firstly, the director used the silly conceit of shadowing Onegin and tatiana with younger versions of themselves, in the silly form of dancers. This was at best mildly uninteresting, at worst downright ridiculous. The nadir was reached in the duel scene, when the Captain asks Lensky where Onegin is; Lensky says something to the effect that “It’s 7 o’clock and he’s not here” -- when the real Onegin is standing beside him (it’s the dancer who hasn’t turned up yet)! And then in the final scene, Tatiana’s dancer ‘double’ climbed up the wall and sat sulking in a niche, for no apparent reason at all.It was all distracting and, not to put too fine a point on it, damned silly.

        And the other thing was the terrible costumes: the principals in ‘normal’ clothes, the chorus in all-black; the women’s dresses weer especially nasty, they looked like they were made out of plastic binbags.

        • Belfagor

          The Cherniakov staging wins hands down over all of these for me -- that was one of the most compelling performances I’ve seen recently. Luckily it did the rounds -- I caught it in London and Beijing!

  • La Valkyrietta

    I’ll probably see more, but from the posts, I must go to Arabella :), and I will see Werther -my first thoughts of suicide when I was a child of ten were when reading the Goethe, none successful undertakings- and Two Boys, just for the heck of it. I know, I saw Kraus and Corelli -wrong, but gorgeous, like sometimes life- in Werther, but I am absolutely sure Jonas will not disappoint.

    • oedipe

      You are a great Wagner fan, are you not? Do you think Corelli would have been gorgeous in Wagner?

      • La Valkyrietta

        honey oedipe,

        Corelli was absolutely wrong in Massenet, but glorious, and I am glad he did not attempt to sing Wagner. But I absolutely loved him. He is the only one who could challenge Nilsson in Turandot, and he was divine with Tebaldi in Adriana. I remember I hated when he cancelled one of those operas and someone else, Domingo, took his place, but he was not that bad. Oh, Corelli was absolutely lovable, I just wish I had been in Naples to his Forza with Tebaldi, that was breathless, at least there is a video of it.

        Yes, I absolutely adore Wagner, but he is not all of opera. There is something else too. For example, Monsieur Verdi, oui, wunderbar.

        Anyway, to answer your question, I am glad Corelli did not attempt Wagner, but if he had, I feel it would have been interesting.

        • La Valkyrietta


          Wrong, wrong, wrong, wrong, wrong, but absolutely gorgeous.

          • oedipe

            I love Corelli! But I would much rather hear him in Chenier, Turandot, or Trovatore.

        • Camille

          Just a day or so ago, coïncidentally, I heard Franco baby sing the aria from Le Cid, “O souverain, o jûge, o père”, and I could not agree more with what you say, LaVally. Just love him, no matter what, though. He was unique.

          • La Valkyrietta

            Oui, ma chère Camille, I miss those days when he sang at the Met, and when he sung with Nilsson or Tebaldi, going to the opera was absolute heaven.

            Did I mind his French diction? Hell, no!

          • oedipe

            La Valkyrietta,

            The main problem is not his French diction, it’s his style!

            This seems to be a detail that gets lost somewhere on the way over across the ocean: French opera is not verismo. It is not Verdi or bel canto either. If you bend it out of shape to make it sound more Italian, or more German, or whatever suits your tastes, you may think you are still hearing French opera, but you aren’t: you are only hearing a distortion, a surrogate, a fake.

  • Rowna

    Re the Rad/3 queens -- just listened to parts of each -- all I can say is they aren’t for me, in spite of some good singing.

    • Bianca Castafiore

      I shudder to think of what her Norma will sound like but I think I’ll go just to compare to Meade (whom I like but do not adore like some here).

      • Camille

        We’ll see which one of the two can bring some acting to the table. Frankly, after witnessing that performance in Beatrice di Tenda, girl has got to up her game, a whole helluva lot.

        • Bianca Castafiore

          Who today can do justice to this role, Cammilletta??????

          • Bianca Castafiore

            I wonder, has DiGiacomo sung Norma yet?

          • Camille

            Someone Italian, maybe. I don’t know off-hand. Perhaps that lady Maria Agresta of whom Ercole Farmese is so enthusiastic.

            Later, rossignol—I am still thinking about Händel.

      • Rowna

        I had a lot of hope for Meade, but so far a little disappointing -- not enough drama in the voice. And her technique a tad off sometimes.

  • toitoitoi

    I want all of those things -- and a pony.

    • Camille

      And a dolly, too.

      And the head of Jokaananaaaaaan in a Silberschüssel!!!
      Please, Santa.

      • Rowna

        Just give me Jonas!

        • bassoprofundo

          game. set. match.

  • hagar

    Where’s Domingo’s Conte di Luna? I miss Domingo in bigger roles…

  • Quanto Painy Fakor