Cher Public

Cher public, affrettati, precipita per l’etra!

La Cieca’s familiar spirits have been turning their generally steely eyes to the Future Met Wiki, attempting in vain to make sense of impending repertoire and casting at Casa Gelb. Perhaps you, the cher public, can offer your insights and suggestions the better to fill the many gaping lacunae in their prognostications.  

According to the most recent updates to insertions to the Wiki, we will hear no fewer than eight(!) operas in French next season: Carmen, Guillaume Tell, Roméo et Juliette, Cyrano de Bergerac, Thaïs, Werther and Pelléas et Mélisande.  The Debussy has has a recent casting update, as has the Bizet, but the others have not.  Has anyone heard whether some of this plethora of French repertoire will be dropped or moved to a different season?

Consider casting of the title roles in Pelléas et Mélisande—that is, whom do you think the Met would cast, which is not necessarily your “dream” casting.  We don’t exactly picture Piotr Beczala as Pelléas, but if he’s out of Idomeneo in 2016-17 in favor of Matthew Polenzani, he seems otherwise off the roster.

Doesn’t Pelléas require a star conductor as champion?  At one time Yannick Nézet-Séguin was attached to 2016-17’s revivals of Manon Lescaut and Fliegende Holländer, so if he’s leading the Debussy, will this revival move to 2017-18?

Fidelio is coming back sometime in the next two years, with Adrienne Pieczonza and Greer Grimsley.  Which season will it happen, do you think, and is Jonas Kaufmann the Florestan?  (He’s probably doing the new Tosca in 2017-18, and he’s acted resentful lately about spending too much time in the US.)

The next few seasons will offer Met debuts for tenors Diego Silva and Michele Angelini, baritone Etienne Dupuis and mezzo Daniela Mack. Any idea in what repertoire?

La fanciulla del West and Mefistofele seem to hover somewhere on the horizon. Any guesses which season(s) in particular?

Who would seem a logical choice for Pollione opposite Anna Netrebko and Marina Rebeka in the 2017-2018 new production of Norma?

Is Sonya Yoncheva the raison d’être for a revival of Thaïs?

Who, if anyone, would you like to see in the double bill of Les Mamelles de Tirésias and L’enfant et les sortilèges which is supposedly on the books for 2018?

Will Don Carlo return in a four-act version? When?

The season 2018-2019 is already looking odd, with ony four new productions scheduled, likely in order to accommodate necessary revisions in the Ring revival that year. By December 31 we will see stagings of Samson et Dalila, Adriana Lecouvreur, Iphigenia in Aulis (Golijov) and… what? Lucrezia Borgia? La traviata?

At one point rumors placed the new Traviata as opening night 2019, but that now seems unlikely for two reasons: it’s to be directed by Michael Mayer, who is also staging the new Nico Muhly Marnie that season, plus a reliable source insists that the opener for the 2019 season will be a new Porgy and Bess!

We call on you, parterriani, for answers!

  • Feldmarschallin

  • Feldmarschallin

    100’s of different colors in one lied alone.

  • moi

    Mattila is supposed to sing Klytaemnestra with Goerke’s Elektra

    • bewilbered

      No, I heard recently this is NOT happening, although Mattila is in discussion for other things.

    • Based on Mattila’s recital a few months ago, I would say that Klytemnästra can wait. She still sounds good in the soprano range. I imagine she’ll continue with the low-lying soprano roles and high-lying mezzo roles for a few more years. She has a healthy bottom that could be developed for alto or low mezzo roles, but she’s not there yet.

      • Porgy Amor

        Klytämnestra Can Wait will be the title of my new play. It will be a comedy about a gay couple preparing for a dinner with the imperious mother of one of the guys. She thinks her lawyer son can do better than his partner, a struggling actor. But now they have to tell her they’re engaged! There’s also a sister who is going along, ostensibly to help break the ice…but she also has news that the mother will disapprove of. Coming to a loft near you.

        • Porgy: When does casting start?

          I can already see the less satisfying and less potent sequel, Klytemnästra Waited Too Long.

  • moi

    OK, thanks for clearing that up. Now I start hoping for an Ortrud…
    Giovanna D’Arco was such a success at La Scala, that people thought no scandals this year.
    But La Repubblica reports, that after the prima one of the stage directors,Moshe Leiser was congratulating Chailly, but got no reaction from the maestro. Leiser waited a few seconds and yelled ‘asshole’ and ‘pezzo di merda’. The audio is available on the site of the newspaper. I’d be surprised to see him work again at LaScala in the near future

  • degan

    I am curious about some sopranos making big comebacks or debuts in the last time.
    It seems that Gheorghiu again gets at least one role per season. She just mentioned Othello, Manon Lescaut and Don Carlo. Maybe she is the one for the 4 act DC?!
    M. Alvarez mentioned a Manon Lescaut with Gheorghiu but in Vienna, so maybe they will repeat it at the MET.
    Also I think Guleghina will be back again after her Tosca, maybe Lady M or Abigaille?!
    Irina Lungu could do the Decker Traviata or will she be in the NP with Florez?! She is singing Violetta in the whole world… or Maybe a Mimi?!
    Also Kurzak is expanding her repertory. Liu, Mimi…
    It´s a shame not to get Monastyrska as Lady M or maybe even Norma…

    What about the planned La Wally?!

    • Bluebeard

      Sadly, from what I gather, Guleghina doesn’t have any more planned engagements at the Met, though her Tosca was the best work I’ve heard her do in years and the audience went berserk. There are several singers who can do Lady Macbeth and Abigaille over her at this point, so, unless she changes her repertoire a bit, I’m not sure what they’d ask her to do. That said, there are quite a few roles she could do well at this point like Eboli, Ortrud (if she gets the German down), and some of the low soprano/high mezzo without too much coloratura, but that would depend on her own interest in adding more roles.

      I’ve been reading about Gheorghiu doing Don Carlo, Otello, and Manon Lescaut for the better part of a decade now. I doubt she’ll sing any of those roles, let alone at the Met. There was a rumor that Gheorghiu would do Pasquale this season, though she probably said no at the last minute. Otherwise, I’m guessing the Met would have had a better known name than Buratto (a very good singer regardless) in the role alongside Camarena and Maestri. At this point, is it worth working so hard to bring her over for just two-performance runs?

      • I was wondering how Ghulegina’s Tosca was. I do tend to think that her days are numbered. But if she has worked on her voice and stopped the decline, then she might still be worth hearing in the right role. One thing about Ghulegina is that she gives the audience a show. And as long as she has voice left, she can be fun part of the casting mix.

        • Gualtier M

          Actually there was a review on this site that was spot on. Guleghina gave a more dramatically and musically disciplined performance as Tosca than she was wont to do a decade or more ago. Back then, in the old Zeffirelli production, the singing tended to get shrill and raucous by Act II and the acting was over the top and too ditzy for the character.

          What I found with both Guleghina and Marcello Giordani was that they knew the style and all the vocal and dramatic gestures were in place. However both had trouble with lyrical singing in the middle voice (he was hoarse, she hollowed out) but nailed the hard high stuff. Giordani and Guleghina had rip roaring thrilling B’s and C’s and just in the hard parts where veterans might be cheating or ducking, they rocked big time. So they knew where the bodies are buried in “Tosca” and when the going got tough, these tough voices got going. (As for the very faded James Morris I will just remember his wonderful Wotan of the 90’s and forget this Scarpia)

          In some ways if you could morph Guleghina and Gheorghiu together you would have a complete perfect Tosca. Both had the temperament. Gheorghiu needed some of Guleghina’s volume and stamina and toughness. Guleghina could have used some of Gheorghiu’s smoky velvet in the middle voice, smooth legato, vocal subtleties, pianos, tender moments, feminine charm and flirtatiousness. Both could act, looked good and made each moment count for something.

  • I’m suddenly getting a lot of hits on my blog for “Les Mamelles de Tirésias”. I guess this is from people seeing it “on the books” in NYC and looking it up on Google.

  • UpB7

    Regarding Kozena singing at the Met, since she is married and has a young son, and is living with them in Europe (either England or Germany), she seldom performs outside of Europe. I think she sang at the Met in only three seasons -- once in the early 2000’s as Vervara in “Kat’a Kabanova”, once in the 2005-2006 season as Dorabella, and once in the 2010-2011 season as Melisande.

    • The Poet Lenski

      Kozena has sung five roles at the Met: Cherubino (debut, 2003-2004), Varvara (2004-2005), Dorabella (2005-2006), Idamante (2006-2007), and Melisande (2010-2011). She also sang Zerlina during a summer Japanese tour in 2006.

  • jrance

    A ’16 -- ’17 repeat of a Verdi opera is to be replaced by a Strauss opera.

    • Bill

      What Strauss opera and what opera house ?

      • Camille


        I think jrance is most likely referring to the MET, and according to the Met Future Wiki there are no less than five Verdian operas in repertory repeats in 2016-17: Aïda, Nabucco, Otello (?), rigoletto, and La Traviata. The only Straussian opera mentioned thus far is the new production of Der Rosenkavalier with Fleming/Garanca et al.
        SO——it is probably good news that the balance of operas is evened out just a little. I’d love NOT to see the Rigoletto or a couple others and instead see Die Aegyptische Helena instead! That, most likely, is not going to happen but maybe a new Ariadne auf Naxos or, who knows, Die Schweigsame Frau is on the horizon…..

      • Bluebeard

        Well, Marlis Petersen said she plans to sing Salome…maybe she’ll do that instead of Traviata? Truth be told, I doubt she’s well-suited to it vocally, but the Met hasn’t done it since Mattila, and it’s a hard production to cast well. If we assume that cast members from a Verdi production would still be in the Strauss, Ariadne is a possible substitute for Aida with Stoyanova, though I seriously doubt the Met would do more than four or five Ariadne’s in any given season (so it’d only be a partial replacement). In addition, Ariadne ideally needs a bigger name than Stoyanova, especially when Mattila’s been conquering London and Paris with that role. There’s no way they’d get rid of Nabucco with Domingo/Monastyrska/Barton. That’s HD material for sure :). And Rigoletto also appears unlikely to eliminate because Calleja and Peretyatko might only have Rosenkavalier in common, which is already being done that season. Then again, if somebody decided to replace it with Frau or Helena, I wouldn’t complain! I doubt they’d eliminate Otello with Dima.

        • Bill

          If the Met was going to replace a Verdi opera with
          a Richard Strauss opera next season it would be most
          likely one with which the Met is more familiar and one that is easier to cast -- Salome really only needs a superior exponent for the title role. Ariadne does need 3 sopranos and a strong tenor but the orchestra is smaller than most Strauss operas and there is no chorus
          requirement in either opera. Schweigsame Frau requires
          a great many rehearsals as it is mainly an ensemble opera in a way with tremendous interplay between the characters and the Met has (alas) never performed it.
          Arabella did not sell well last time round though it
          was not wonderfully cast. (but then again nothing is selling all that well these days at the Met -- I think
          there were full houses only for Lulu and some of the Netrebko performances). Die Frau ohne Schatten requires 5 principal singers and if they are not engaged some years in advance it would be difficult to collect
          them on short notice. Lyric sopranos such as Petersen
          do sing Salome sometimes and can succeed. But not every Salome around these days would fit into the Met’s current Salome production with ease.

          Salome or Ariadne seem most plausible though Ariadne
          does not sell that well at the Met. Personally I consider Stoyanova a big name at least in Europe --
          but at the Met she is usually second cast and receives
          little publicity. She has had a success as the Marschallin in Salzburg (not a small house) and as Ariadne in Wien and has Danae planned for Salzburg this
          forthcoming summer which is a tough sing. The Met could put together Capriccio if Fleming wanted to sing it again -- Elektra is in the Met plan for this season with Stemme and in the future as well. The Met has done very little Strauss in the last seasons (one or two seasons with no Strauss at all) so at least for me any Strauss opera. Lindstrom just had a success this past week as a blonde Salome in Vienna and there is a plethora of reasonable (if not famous) Salomes in Europe just now.

          would be welcome.

          • Bluebeard

            I’m not disagreeing that Salome shouldn’t have a big exponent of the role at a theater like the Met, which does not do this opera with any sort of frequency nowadays; however, it feels like much of the Met’s Strauss/Wagner casting lately has not relied on well-known quantities in these roles. After all, D. Voigt and B. Heppner were to have sung the entire Ring without having sung the full Ring before (D. Voigt pulled out of the Vienna Ring entirely, and Heppner only sang the Gotterdammerung, I believe). To be fair, sometimes this works well, such as Kaufmann’s first Siegmund. The Met has been advertising Petersen as a major star, and she probably received more attention this fall than any other Met diva. I don’t doubt she could get through it, but it would be hard for her to make an impact in as cavernous a hall as the Met.

            I really like Stoyanova and would gladly see her Ariadne, but they typically do 10-12 performances of Aida. I’d think it unlikely to see no Aida whatsoever next season. Capriccio is a favorite opera, but that production is so tedious and Fleming (and the entire cast) was merely ok then (however, she was much stronger in the Vienna production two years later). I don’t think there are any singers today who could convince the Met to do the opera right now. It’s also another major ensemble opera, where everyone needs to connect strongly, while Salome is a little more of a vehicle and would be possible to get a decent Herod/Herodias/Jochanaan with a little less notice.

            • Bluebeard: You’re right that the Met’s last Ring was relying on first-time role assumptions in a few key roles (though Heppner did sing both Siegfrieds in Orange, I believe). And this goes against the Met’s usual track record of bringing singers on board so late that they already in their career’s denouement by the time they arrive. But Voigt, Heppner and Kaufmann were all very well known quantities. So, while they weren’t veterans in those roles, they had lots of history at the Met and in other big assignments elsewhere.

        • fletcher

          If it’s indeed Salome, I’d be very interested in the casting. LA Opera is doing Salome in the 2016-17 season but I haven’t got wind of the casting for that either. Alex Penda sang it at Santa Fe this summer; I missed the show but heard good things. Just hope it’s not Voigt.

          • LT

            For LA Opera it most likely will be Machaidze, Domingo in a production by Martha Domingo.

          • phillyoperalover

            How did you find this out??

            • fletcher

              I’m a flirt at parties.

          • Bill

            Lisa Lindstrom had a success just now as Salome in Vienna. Plus she look alluring in the photographs from Vienna so might fit into the production at the Met
            done for Mattila.


            • PCally

              Saw lindstrom and liked her a lot, though the voice is a bit dry for my taste. But she’s probably the optimum choice currently and the tessitura is ideal for her. Can’t imagine Petersen would sing it at the met though dramatically she would totally fit into the production.

            • Buster

              She is probably not famous enough in the States, but the one Salome I would love to hear right now is Simone Schneider:

            • Tamerlano


              Simon Schneider sings very well in this snippet.

            • Feldmarschallin

              Well Buster one doesn’t always have to be famous to be good. I for one would much rather hear Schneider who is much less (in)famous as Najda M.

            • Buster

              Just gorgeous, Tamerlano. There are more clips from the same Herheim production on youtube:

            • Buster

              That is true FM. She still sings in Munich occasionally, not? I remember when the streamed that Feursnot with her. She is on the recent Intermezzo recording with Brigitte Fassbaender -- I hate that opera, but she is outstanding. Her Kaiserin in Leipzig was incredible.


            • grimoaldo

              Feldmarschallin! Can I ask your advice please? Just the other day I got an invitation to a very close person’s wedding in the South of France at the end of June, and I am going, which means that I would like to go to Munich a few days later to see “La Juive” with Alagna at the Munich Opera Festival on 30 June.
              It is annoying that you cannot just buy a ticket, they wait until February and pull names out of a hat or something, which means that I cannot go ahead and book flights and so on as the only reason why I would be going to Munich would be for that performance.
              They put the prices for the tickets but don’t say where in the theatre they are-
              Euro163/142/117/91 etc.
              You have to request a ticket price and give an alternate, do you know which price would be the front of the first balcony or circle or rang or whatever they call it? That is always where I like to sit.
              And there is a box for comments, do you think that if I say I only want one ticket and I will take ANYWHERE in the house that would increase my chance of getting one?

            • PCally

              Buster Schneider sounds quite fine to me and I would prefer her to Michael like feldmarschallin. But then again I’d prefer current silja to Michael so that’s not saying much.

            • Feldmarschallin

              For 163€ they will be happy to accomodate you. That Jüdin will not be a big sell like the Tosca and your performance is the second one. I would write Balkon, 1 Reihe Mitte oder 1. Rang, 1 Reihe Mitte. Alagna is not big box office here. I will be at that performance too so perhaps we can meet outside before the opera. Now the Premiere will be a different story and I had the complete Linde board sitting next to me in the first row of the Parkett for the Feurigen Engel. They got a bit nervous at all the penises but all staged until the end and there was not one single boo. Linde and BMW are big sponsors so they get prime tickets for the premieres. Most of the time the second and future performances are better anyway but it is fun to be at the premiere so see it before any of the reviews come out. If you have more questions just ask. Done with my baking now and made 5 different sorts of cookies. Feels more like April than December with 17 degrees and sun. Perhaps Mr Coburn should come here and than we can talk about the non-existant global warming :)

            • grimoaldo

              Thank you so very much Feldm, yes it would be great to meet, I hope to see you there!

    • knowingclam

      It’s Rigoletto to Salome.

      • Krunoslav

        Are we then in for another bout of Nadja Michael???