1967-09-24
0
Amour, the messenger of the gods, tells Orpheus that he may descend to the underworld and return with Eurydice. His singing has the power to appease the Furies and animate the blessed Shadows. Yet, his voice cannot reassure Eurydice who despairs of the feigned indifference of Orpheus, put to the test by Jupiter. Raphaël Pichon conducts the opera of operas and Aurélien Bory displays the giddiness of the mental and supernatural spaces traveled by Orpheus and beyond. Marianne Crebassa plays a new breeches role with Hélène Guilmette (Hélène in Le Timbre d’argent) and Lea Desandre (the title role in Alcione).
37-year-old Italian-American widow Loretta Castorini believes she is unlucky in love, and so accepts a marriage proposal from her boyfriend Johnny, even though she doesn't love him. When she meets his estranged younger brother Ronny, an emotional and passionate man, she finds herself drawn to him. She tries to resist, but Ronny, who blames his brother for the loss of his hand, has no scruples about aggressively pursuing her while Johnny is out of the country. As Loretta falls for Ronny, she learns that she's not the only one in her family with a secret romance.
James Levine leads a remarkable cast in one of Verdi’s most enduringly popular operas and brings fresh insights to this beloved score. Ileana Cotrubas is poignant and touching as Violetta, the consumptive courtesan who finds true love with Alfredo, sung with style and passion by the great Plácido Domingo. Cornell MacNeil is Germont, Alfredo’s father, who forces the two apart, setting in motion events that lead to a shattering and tragic conclusion. Colin Graham’s production features design by Tanya Moiseiwitsch and choreography by Zachary Solov.
Wagner’s Romantic opera demands singing actors who can truly inhabit their parts, and that’s just what we have here. Is it possible for a Knight of the Holy Grail to look more enticing than Peter Hofmann? No wonder Elsa (Eva Marton) falls in love at first sight. Marton’s heroine is innocent, but she is also a passionate, real-life young woman—which is good, because Leonie Rysanek is positively demented as Ortrud, the sorceress who accuses Elsa and Lohengrin of using magic. With James Levine’s superb conducting, the orchestra and chorus are similarly magical.
A stellar cast brings Puccini’s spellbinding opera to life, seizing every opportunity to thrill the audience. Luciano Pavarotti is Cavaradossi, the painter and political revolutionary in love with the beautiful and famous singer Tosca (the riveting Shirley Verrett). Rome’s diabolical chief of police, Baron Scarpia (Cornell MacNeil), wants Tosca for himself—but he underestimates the fury of a woman in love. With torture, murder, and a suicide in its final moments, Tosca packs more dramatic punches than most other operas—and this classic telecast captures them all. James Conlon conducts in a production by the incomparable Tito Gobbi, one of the great Scarpias of the 20th century.
With James Levine at the helm, Verdi’s multi-faceted masterpiece is revealed as a drama of almost Shakespearean proportions. Superstar Plácido Domingo takes on he demanding role of Don Alvaro, the outcast whose noble gesture unwittingly sets the wheels of fate in motion and destroys an entire family. Sharon Sweet is Leonora, the woman he loves, and Vladimir Chernov singe her vengeful brother Don Carlo, whose twisted hate is all-consuming. Roberto Scandiuzzi is the benevolent Padre Guardiano.
Luciano Pavarotti brings his spectacular voice and artistry to one of the most famous of all tenor roles—Manrico, the ardent troubadour, trapped in an impossible situation by forces beyond his control. The sensational Dolora Zajick, only days after her Met debut, gives an incandescent performance as the demented gypsy Azucena, thirsting for revenge against Count Di Luna (Sherrill Milnes). Eva Marton is the passionate Leonora, desired by both Manrico and the Count, and James Levine brilliantly leads the Met’s orchestra and chorus in some of Verdi’s best-known music.
The story of Elwood P. Dowd who makes friends with a spirit taking the form of a human-sized rabbit named Harvey that only he sees (and a few privileged others on occasion also.) After his sister tries to commit him to a mental institution, a comedy of errors ensues. Elwood and Harvey become the catalysts for a family mending its wounds and for romance blossoming in unexpected places.
Ghiaurov, Freni, and Bumbry were great voices in their time, and they are still effective here -- good enough musicians to put over the quite heavy vocal and expressive demands of their roles. Louis Quilico was never quite in that league, and he sounds a bit spread and woofy in places here, but he works hard and effectively to bring Rodrigo to life. Placido Domingo recorded his first Don Carlo, for EMI with Giulini, about 15 years before this production, but he looks and sounds fine here -- in the early 1980's he was doing very good Otellos and Lohengrins too, and Furlanetto, still in his 30's, brings a rich, young voice to an old part and succeeds in making the Grand Inquisitor vocally as well as expressively formidable. Levine brings both weight and energy to the score, and that reading fits well with the overall "traditional" design and production -- the Met's wardrobe budget must have been severely taxed, but everybody looks splendid.
It truly is an historic performance. Domingo looking and singing like a god pouring out golden tones; Renato Bruson sounds, like the sublime Verdian Baritone that he was at that time; Nicolai Ghiaurov proves again that he was one of the greatest "Verdi Basses"; Mirella Freni shows that there was more to her than just being Mimi and Susannah-in fact I can remember reading that at the time of the premiere of this production that there were fist fights (not unusual in La Scala's gallery) between Mirella's many fans--between those fans that just wanting her to continue singing the light lyric repertoire that they were use to her singing and those that felt she should and could sing the lyric-spinto repertoire which, of course, she proved that,indeed, she could (She's still singing more than twenty years later). This performance captures some of the best Verdi singers of the time doing dear ole wonderful Giuseppi proud.
A young woman goes undercover to gather evidence to free her boyfriend, an attorney who has been framed for a murder he didn't commit.
A live television adaptation of the popular musical about sharpshooter Annie Oakley joining Buffalo Bill's Wild West Show and falling in love with her co-star, Frank Butler.
An orphan in a facility run by the mean Miss Hannigan, Annie believes that her parents left her there by mistake. When a rich man named Oliver "Daddy" Warbucks decides to let an orphan live at his home to promote his image, Annie is selected. While Annie gets accustomed to living in Warbucks' mansion, she still longs to meet her parents. So Warbucks announces a search for them and a reward, which brings out many frauds.
'Law and Order’ on acid and in Hell–only Robert Anton Wilson could conjure a courtroom punk rock drama blending Marilyn Monroe, the Marquis de Sade, Gurdjieff, the American Medical Association (aka the world’s greatest rock band) and the HORROR of the condition on planet Earth. Wilhelm Reich, infamous Austrian-American psychoanalyst and researcher, whose books were burned by Hitler, Stalin and the U.S. government, finds himself again accused of Thoughtcrime. Offered a final attempt to free mankind from its “emotional plague,” Reich leads his own defense amid a surreal and frightening spectacle of sex, violence, fascism and liberation.
Comedy based on short Sean O'Casey play. John Jo Mulligan finds himself in a situation with which his pious conscience cannot cope. He has spent a night with the cunning seductress Angela. Full of remorse and dreading the ruin of his reputation, he tries to get rid of her, fearing that his pal Halibut or his landlady Miss Mossie might get to know. Angela sees her chance, turns gold-digger and does not leave before relieving John of a considerable amount of money.
Jessica, a Jewish copy editor living and working in New York City, is plagued by failed blind dates with men, and decides to answer a newspaper's personal advertisement. The advertisement has been placed by 'lesbian-curious' Helen Cooper, a thirtysomething art gallerist.
Anton Špelec (Vlasta Burin) is a producer of musical instruments by trade but a sharp-shooter at heart. He expects to be awarded a medal at a large parade in town where veteran sharp-shooters will be honored. When the town council is one medal short, Anton must wait another year for his prized possession. He drowns his disappointment in drink at the local pub and becomes so drunk that he insults the emperor who sentences him to jail. Instead of fulfilling the emperor’s orders himself, Anton sends his employee in his stead.