La Fille du Régiment
Sunday, March 3 at 12:55 pm
Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal
fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high
Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice,
with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique
World Premiere: Opéra Comique, Paris, 1840. This frothy comedy mixes humor with a rush of buoyant melody and notorious vocal challenges.
The story concerns a young orphan girl raised by an army regiment as their mascot
and begins at the moment of her first stirrings of love. Complications (and comedy)
ensue when her true identity is discovered. The action is startlingly simple and unencumbered
by intricate subplots, allowing the full charm of the characters and their virtuosic
music to come across in an uninhibited way.
Sunday, March 31 at 12:00 noon
In what is expected to be a Wagnerian event for the ages, soprano Christine Goerke
plays Brünnhilde, Wotan’s willful warrior daughter, who loses her immortality in opera’s
most famous act of filial defiance. Tenor Stuart Skelton and soprano Eva-Maria Westbroek
play the incestuous twins Siegmund and Sieglinde. Greer Grimsley sings Wotan. Philippe
World Premiere: Court Theater, Munich, 1870. The second opera in Wagner’s monumental
Die Walküre has long stood on its own as an evening of extraordinarily powerful theater. Part
of this appeal lies in its focus on some of the
Ring’s most interesting characters at decisive moments of their lives: Wotan, the leader
of the gods; his wife, Fricka; his twin offspring, Siegmund and Sieglinde; and, above
all, Wotan’s warrior daughter Brünnhilde. These characters and others follow their
destinies to some of Wagner’s most remarkable music.
Dialogues des Carmélites
Saturday, May 11 at 12:00 noon
Yannick Nézet-Séguin leads the classic John Dexter production of Poulenc’s devastating
story of faith and martyrdom. Mezzo-soprano Isabel Leonard sings the touching role
of Blanche and soprano Karita Mattila, a legend in her own time, returns to the Met
as the Prioress.
World Premiere: Teatro alla Scala, Milan, 1957. One of the most successful operas of the later decades of the 20th century,
Dialogues des Carmélites is a rare case of a modern work that is equally esteemed by audiences and experts.
The opera focuses on a young member of an order of Carmelite nuns, the aristocratic
Blanche de la Force, who must overcome a pathological timidity in order to answer
her life’s calling. The score reflects key aspects of its composer’s personality:
Francis Poulenc was an urbane Parisian with a profound mystical dimension, and the
opera addresses both the characters’ internal lives and their external realities.