SPECIAL EDITION

2014–15 Season

Live in HDGuideAT CINEPLEX THEATRES

The Met:

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Macbeth’s Anna Netrebko and Željko Lučić

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The Metropolitan Opera:Live in HD GuideEditorial content created by the Metropolitan Opera.

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Le Nozze di Figaro’s Isabel Leonard

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6 A Note from the GeNerAl mANAGer10 A messAGe from toll Brothers12 schedule At A GlANce14 mAcBeth 18 le Nozze di fiGAro 22 cArmeN 24 il BArBiere di siviGliA 26 die meistersiNGer voN NürNBerG 28 the merry widow 30 les coNtes d’hoffmANN 32 iolANtA / BlueBeArd’s cAstle 34 lA doNNA del lAGo 36 cAvAlleriA rusticANA / pAGliAcci

On the cover: Ildar Abdrazakov and Marlis Petersen in Le Nozze di Figaro Photo: Ken Howard / Metropolitan Opera

Live in HD Guide2014–15 Season

The Merry Widow

Iolanta

La Donna del Lago

PagliacciLe Nozze di Figaro’s Isabel Leonard

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As always, the Met’s new season of Live in HD movie-theater transmissions and international radio broadcasts will feature the world’s most extraordinary artists performing a wide range of repertoire. In several cases, these singers will be moving into new musical terrain that should be especially exciting for audiences.

That is certainly the case with Verdi’s Macbeth, our first live cinema screening on October 11. Anna Netrebko will continue her move into more dramatic repertoire when she sings her first Met performances of the ruthless Lady Macbeth, opposite Željko Lučić in the title role. When the soprano

A NOTE FROM THE GENERAL MANAGER

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The greatest singers in the world will appear during the Met’s 2014–15 season—which features the ninth season of Live in HD and the 84th of Saturday radio broadcasts.

Stars On Stage, On Screen, and On the Air

Peter Gelb, left, in a technical rehearsal

Macbeth’s Netrebko

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sang the role for the first time in Munich this past summer, the German newspaper Die Welt declared, “opera superstar Anna Netrebko came, sang, and triumphed.” We expect similar theatrical fireworks at the Met.

Macbeth is the first of ten Live in HD transmissions we’ll be offering, including our new production of Le Nozze di Figaro, conducted by James Levine; Susan Stroman’s new production of The Merry Widow, with the great Renée Fleming in the title role; and Sir David McVicar’s imaginative new staging of the Mascagni–Leoncavallo double bill of Cavalleria Rusticana and Pagliacci, with Marcelo Álvarez facing the challenge of singing both leading tenor roles.

Our Saturday radio broadcasts, heard over the Toll Brothers–Metropolitan Opera International Radio Network, cover similarly wide-ranging musical ground. The broadcast season opens with Rossini’s Il Barbiere di Siviglia in December and comes to a close in May with Stravinsky’s The Rake’s Progress—two vastly different works that represent the breadth of operatic endeavor we pursue year after year. That final radio broadcast will be led by our incomparable Music Director James Levine, who will be conducting five operas that we’ll be presenting in movie theaters or over the airwaves. That includes Verdi’s Ernani, with Maestro Levine’s longtime collaborator Plácido Domingo in the baritone role of Don Carlo—an operatic event that’s not to be missed.

I’m extremely grateful for the continued support of the Neubauer Family Foundation, the founding sponsor of the Live in HD series, as well as to Bloomberg, our global corporate sponsor, and Jacqueline Desmarais, for support-ing the HD series in Canada in memory of her husband, Paul G. Desmarais Sr. And special thanks to Toll Brothers, who this year celebrate their tenth anniversary as the sponsor of our Saturday radio broadcasts—a testament to Toll Brothers’ extraordinary commitment to the Met and our audience. I thank our sponsors—and contributors across the globe—for supporting another season of what will include some unfor-gettable performances at the Met. —Peter Gelb

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Il Barbiere di Siviglia

Cavalleria Rusticana’s Álvarez

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This year marks the beginning of the 84th season of the Metropolitan Opera broadcasts. I am pleased and honored that it also marks the tenth anniversary of the Toll  Brothers–Metropolitan Opera International Radio Network. All of us at Toll Brothers are proud that our company is making a difference for opera, along with the generous donors to the Support the Met Broadcasts Campaign. It is inspiring that so many opera lovers are working together to keep this cultural treasure thriving for this and future generations. Now in their ninth decade, the Saturday Matinee Radio Broadcasts remain the foundation of the company’s efforts to make opera as widely available as possible. The Met’s broadcast tradition has been expanded and enhanced through the enormously popular Live in HD series of movie-theater trans-missions, made possible by its founding sponsor, the Neubauer Family Foundation, and Bloomberg. Opera has never had such widespread international exposure. Toll Brothers once again is pleased to join the Annenberg Foundation, the Neubauer Family Foundation, and the Vincent A. Stabile Endowment for Broadcast Media—and nearly 16,000 donors worldwide to the Support the Met Broadcasts Campaign—in welcom-ing you to the Met’s new broadcast season. It is also a pleasure to welcome the renowned soprano Deborah Voigt as the new Met Broadcast Ambassador for our Support the Met Broadcasts Campaign, beginning this season. As a performing veteran and host of many broadcasts herself, Debbie shares our deep commitment to securing their future, and I hope you will join her, and all of us, in supporting the Met broadcasts with enthusiasm.Happy listening!

Robert I. TollExecutive Chairman of the BoardToll Brothers, Inc.

A MESSAGE FROM TOLL BROTHERS

Dear Opera Lovers

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VERDIMACBETHLIVE: Saturday, October 11, 2014ENCORES: November 10 & 15, 2014

MOZARTLE NOZZE DI FIGAROLIVE: Saturday, October 18, 2014ENCORES: December 6 & 15, 2014NEW PRODUCTION

BIZETCARMENLIVE: Saturday, November 1, 2014ENCORES: November 29, 30 & December 8, 2014

ROSSINIIL BARBIERE DI SIVIGLIALIVE: Saturday, November 22, 2014ENCORES: January 10 & 12, 2015

WAGNERDIE MEISTERSINGER VON NÜRNBERGLIVE: Saturday, December 13, 2014ENCORES: February 7 & 23, 2015

2014–15 Live in HD Season Schedule at a Glance

Macbeth Il Barbiere di Siviglia

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LEHÁRTHE MERRY WIDOWLIVE: Saturday, January 17, 2015ENCORES: February 28 & March 2, 2015NEW PRODUCTION

OFFENBACHLES CONTES D’HOFFMANNLIVE: Saturday, January 31, 2015ENCORES: March 28 & 30, 2015

TCHAIKOVSKY/BARTÓKIOLANTA/BLUEBEARD’S CASTLELIVE: Saturday, February 14, 2015ENCORES: April 11 & 13, 2015DOUBLE BILL

ROSSINILA DONNA DEL LAGOLIVE: Saturday, March 14, 2015ENCORES: May 9 & 11, 2015NEW PRODUCTIONMET PREMIERE

LEONCAVALLO/MASCAGNIPAGLIACCI/CAVALLERIA RUSTICANALIVE: Saturday, April 25, 2015ENCORES: June 6 & 8, 2015NEW PRODUCTIONDOUBLE BILL

Bluebeard’s Castle Pagliacci

For tickets go to Cineplex.com/Events/MetOpera

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Anna Netrebko takes on the murderous Lady Macbeth for the first time at the Met after a sensational European role debut. Acclaimed Verdi baritone Željko Lucic sings the title role, with Joseph Calleja as Macduff and René Pape as Banquo. Fabio Luisi conducts.

GIUSEPPE VERDI

MACBETHCONTINUED ON PAGE 16

Netrebko and Lučić

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ACT I Scotland. A group of witches tells Macbeth and Banquo, leaders of the army, that Macbeth will become Thane of Cawdor and King of Scotland and that Banquo will be the father of kings. When the first part of the predic-tion unexpectedly comes true moments later, the ambitious Lady Macbeth persuades her husband to murder King Duncan so he can himself ascend the throne.

ACT II Macbeth, now king, is worried about the prophecy that Banquo’s children will rule. He has him killed, but Banquo’s son Fleance escapes. At a banquet, Macbeth has a terrifying vision of the dead man accusing him. Everyone is shocked by his strange behavior.

INTERMISSION

ACT III The witches warn Macbeth to beware of Macduff, another noble-man, but assure him that “no man of woman born” can harm him, and that he will be invincible until Birnam Wood marches on his castle.

ACT IV His family killed by Macbeth, Macduff has escaped to England. There he joins Malcolm, Duncan’s son, who is preparing to invade Scotland and take back the crown. Lady Macbeth, haunted by her deeds, goes mad and dies.

English soldiers march on Macbeth’s castle, camouflaged with the branches of Birnam Wood. Macduff confronts Macbeth and tells him that he had a Caesarean birth. He kills Macbeth and proclaims Malcolm king of Scotland.

Production a gift of Mr. and Mrs. Paul M. Montrone

Additional funding from Mr. and Mrs. William R. Miller; Hermione Foundation,

Laura Sloate, Trustee; and The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund

LIVE IN HD

October 11, 2014 12:55 PM ET

ENCORE BROADCASTS November 10, 2014 6:30 PM LOCAL

November 15, 2014 12:00 PM ET & AT*

Approx. running time: 3 hours 10 min.

LIVE IN HD DIRECTOR

Gary Halvorson

CONDUCTOR

Fabio LuisiPRODUCTION

Adrian NobleSET & COSTUME DESIGNER

Mark ThompsonLIGHTING DESIGNER

Jean KalmanCHOREOGRAPHER

Sue Lefton

LADY MACBETH

Anna NetrebkoMACDUFF

Joseph CallejaMACBETH

Željko LučićBANQUO

René Pape

Lučić

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ACT I A manor house near Seville, the 1930s. Figaro and Susanna, servants to the Count and Countess Almaviva, are preparing for their wedding. When he learns that the Count has tried to seduce his bride, Figaro swears revenge. Meanwhile Marcellina, former housekeeper of Dr. Bartolo, is determined to marry Figaro herself in exchange for a debt he cannot pay. The adolescent boy Cherubino, who’s in love with every woman in the house, comes to Susanna’s room but is forced to hide when the Count appears to resume his advances towards Susanna. The Count then also con-

ceals himself at the approach of Basilio, the music teacher, but eventually reveals his presence. When he realizes that Cherubino has overheard his conversation with Susanna, he angrily orders the boy to join the army immediately. Figaro ironically cheers up Cherubino.

ACT II The Countess mourns the loss of love in her life. Encouraged by Figaro and Susanna, she agrees to set a trap for her husband: they will send Cherubino, disguised as Susanna, to a rendezvous with the Count that night. While

Music Director James Levine conducts Sir Richard Eyre’s new production of Mozart’s sublime human comedy. Ildar Abdrazakov, so memorable as Prince Igor last season, takes on the title role, leading a superb cast that also includes Amanda Majeski, Marlis Petersen, Isabel Leonard, and Peter Mattei.

WOLFGANG AMADEUS MOZART

NEW PRODUCTION

LE NOZZE DI FIGARO

CONTINUED ON PAGE 20

Petersen and Mattei

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the two women dress Cherubino up as a girl, the Count arrives, suspicious at finding his wife’s door locked. Cherubino shuts himself in an adjoining room and with Susanna’s help, manages to escape through the window. The Count seems convinced that, against his suspicions, all is well until the gardener, Antonio, appears to complain that someone has jumped from the window and trampled his flowers. Figaro pretends that it was he who jumped. At that moment Bartolo, Marcellina, and Basilio arrive, waving the marriage contract for Figaro. Delighted, the Count declares that Figaro and Susanna’s wedding will be postponed.

INTERMISSION

ACT III Susanna leads the Count on with promises of a rendezvous that night. His joy turns to rage when he overhears her conspiring with Figaro, and he swears revenge. The Countess, alone, recalls her past happiness. Marcellina demands that Figaro pay his debt or marry her at once, but when Figaro reveals a birthmark on his arm, Marcellina recognizes him as her long-lost son, fathered by Bartolo. The Countess and Susanna compose a let-ter to the Count confirming the rendezvous with Susanna that evening in the garden. The Count is furious when he realizes that Cherubino is still in the house, but his anger is punctured by Barbarina—Cherubino’s girlfriend and Antonio’s daughter—who reveals that the Count, when he attempted to seduce her, promised her anything she wanted. What she wants now is to marry Cherubino. The Count is forced to agree. The household assem-bles for Figaro and Susanna’s wedding and, while dancing with the Count, Susanna hands him the letter confirming their rendezvous.

ACT IV At night in the garden, Figaro learns from Barbarina about the planned rendezvous between the Count and Susanna. Thinking that his bride is unfaithful, he rants against all women. Susanna and the Countess arrive, dressed in each other’s clothes. Soon Cherubino and the Count also appear and, misled by the disguises, both men declare their love to the wrong woman, while Figaro, who has realized what’s going on, joins in the joke. Eventually the Count’s infidelity is exposed when the Countess steps forward and reveals her identity. Ashamed, the Count asks her pardon. After many moments of agonizing doubt, she forgives him and both couples are reunited.

Production a gift of Mercedes T. Bass, and Jerry and Jane del Missier

LIVE IN HD

October 18, 2014 12:55 PM ET

ENCORE BROADCASTS December 6, 2014 12:00 PM ET & AT*

December 15, 2014 6:30 PM LOCAL

Approx. running time: 3 hours 40 min.

LIVE IN HD DIRECTOR

Gary Halvorson

CONDUCTOR

James Levine PRODUCTION

Sir Richard Eyre SET & COSTUME DESIGNER

Rob Howell LIGHTING DESIGNER

Paule Constable CHOREOGRAPHER

Sara Erde

COUNTESS ALMAVIVA

Amanda Majeski SUSANNA

Marlis Petersen CHERUBINO

Isabel Leonard COUNT ALMAVIVA

Peter Mattei FIGARO

Ildar Abdrazakov

Abdrazakov and Leonard

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ACT I Seville. The soldier Don Jose is in love with Micaela, a young girl from his village. The beauti-ful gypsy Carmen tries to flirt with him, but he pays no attention to her. When Carmen is arrested for

starting a fight with another girl, Jose is ordered to take her to prison. She entices him with sugges-tions of a rendezvous, and he finally gives in and lets her escape, before being arrested himself.

Richard Eyre’s stunning production of Bizet’s steamy melodrama returns with Anita Rachvelishvili in the title role opposite Aleksandrs Antonenko as Don José.

GEORGES BIZET

NEW PRODUCTION

CARMEN

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ACT II Just released from prison, Jose meets Carmen in a tavern. He declares his love but says he must return to the barracks. Mocking his sense of duty, she replies that if he really loved her he would desert the army. When another officer appears looking for Carmen, Jose, in a fit of jealousy, attacks him. Carmen’s smuggler friends disarm the officer, leaving Jose no choice but to join them.

INTERMISSION

ACT III Carmen and Jose quarrel in the smugglers’ mountain hideaway, and Carmen admits that her love is fading. She now loves the toreador Escamillo. Suddenly Micaela appears, looking for Jose to tell him that his mother is dying. Jose leaves with her, warning Carmen that they will meet again.

ACT IV Back in Seville, Jose confronts Carmen and tries to win her back. When she refuses and tells him their affair is over, he stabs her.

Production a gift of Mrs. Paul Desmarais Sr.

Revival a gift of Rolex

LIVE IN HD

November 1, 2014 12:55 PM ET

ENCORE BROADCASTS November 29, 2014 12:00 PM ET & AT*

November 30, 2014 12:55 PM LOCAL

DECEMBER 8, 2014 6:30 PM LOCAL

Approx. running time: 3 hours 40 min.

LIVE IN HD DIRECTOR

Matthew Diamond

CONDUCTOR

Pablo Heras-CasadoPRODUCTION

Sir Richard EyreSET & COSTUME DESIGNER

Rob HowellLIGHTING DESIGNER

Peter MumfordCHOREOGRAPHER

Christopher Wheeldon

MICAËLA

Anita HartigCARMEN

Anita RachvelishviliDON JOSÉ

Aleksandrs AntonenkoESCAMILLO

Ildar Abdrazakov

Rachvelishvili

CARMEN

Hartig, Antonenko

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Rossini’s effervescent comedy returns in the Met’s vibrant production. Isabel Leonard and Lawrence Brownlee are the young lovers, and Christopher Maltman stars as the swaggering, crafty, all-knowing barber of Seville.

GIOACHINO ROSSINI

IL BARBIERE DI SIVIGLIA

Leonard

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ACT I Rosina is being kept confined to her house in Seville by her elderly guardian, Dr. Bartolo, who plans to marry her. Count Almaviva, disguised as a poor student named Lindoro, attempts to win her love. Unsuccessful, he enlists the help of the town barber and factotum, Figaro, to come up with a plan. Rosina’s music master, Don Basilio, warns Bartolo that Almaviva is in Seville, and Bartolo decides to marry Rosina at once. Figaro helps “Lindoro” gain entry to the house, disguised as a drunken army officer, but the police intervene and the Count’s identity is revealed.

INTERMISSION

ACT II Almaviva returns to Bartolo’s house, this time disguised as a music master. An escape plan is devised, and that evening Figaro and the Count climb over the wall to rescue Rosina. Thinking she has been deceived, Rosina resists until Almaviva reveals that he and “Lindoro” are the same person. Basilio arrives with a notary, ready to marry Bartolo to the young girl. Bribed with a valuable ring and threatened with being shot, Basilio agrees instead to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with a regiment of soldiers, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and Almaviva celebrate their good fortune.

Production a gift of The Sybil B. Harrington Endowment Fund

Revival a gift of Rolex

LIVE IN HDNovember 22, 201412:55 PM ET

ENCORE BROADCASTSJanuary 10, 201512:00 PM ET & AT*

January 12, 20156:30 PM LOCALApprox. running time: 3 hours 15 min.

LIVE IN HD DIRECTOR

Matthew Diamond

CONDUCTOR

Michele MariottiPRODUCTION

Bartlett SherSET DESIGNER

Michael YearganCOSTUME DESIGNER

Catherine ZuberLIGHTING DESIGNER

Christopher Akerlind

ROSINA

Isabel LeonardCOUNT ALMAVIVA

Lawrence BrownleeFIGARO

Christopher MaltmanDR. BARTOLO

Maurizio MuraroDON BASILIO

Paata Burchuladze

Brownlee

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ACT I Nuremberg, 16th century. The knight Walther von Stolzing has fallen in love with the goldsmith’s daughter Eva. She is promised to the winner of a song contest held the following day by the local guild of mastersingers, which prominently includes the cob-

bler Hans Sachs. Walther decides to join the masters-ingers in order to ask for Eva’s hand, but his trial song breaks many of the masters’ rules and he is rejected. Only Sachs, recognizing a new artistic voice, finds unex-pected appeal in Walther’s composition.

James Levine conducts Wagner’s epic human comedy—one of the maestro’s signature works—back on the Met stage for the first time since 2007, with a remarkable cast led by Michael Volle.

RICHARD WAGNER

DIE MEISTERSINGER VON NÜRNBERG

| 27 |

INTERMISSION

ACT II Eva, who returns Walther’s feelings, agrees to elope with him. That evening, the pedantic town clerk and mastersinger Beckmesser, who also wants to marry Eva, comes to her house to serenade her. From across the street, Sachs keeps interrupting Beckmesser’s song with the strokes of his cobbler’s hammer, eventually rousing the neighborhood and creating a tumult that prevents the lovers’ flight and leaves Beckmesser running for cover. The sudden appearance of a night watchman disperses the crowd.

INTERMISSION

ACT III The next morning, Sachs helps Walther take down the words for a new song. Mistaking the poem for the work of Sachs, Beckmesser pockets it, but later at the contest makes nonsense of the words, to the audience’s amusement. Walther then delivers the song and is proclaimed the winner. He and Eva are united as the crowd cheers Sachs.

Production a gift of Mrs. Donald D. Harrington

Revival a gift of Mr. and Mrs. Corbin R. Miller and Mr. and Mrs. Charles Scribner III,

in honor of Father Owen Lee

LIVE IN HDDecember 13, 201412:00 PM ET

ENCORE BROADCASTSFebruary 7, 201512:00 PM ET & AT*

February 23, 20156:00 PM LOCALApprox. running time: 6 hours

CONDUCTOR

James LevinePRODUCTION

Otto SchenkSET DESIGNER

Günther Schneider-SiemssenCOSTUME DESIGNER

Rolf LangenfassLIGHTING DESIGNER

Gil WechslerCHOREOGRAPHER

Carmen de Lavallade

EVA

Annette DaschMAGDALENE

Karen CargillWALTHER VON STOLZING

Johan BothaDAVID

Paul ApplebyHANS SACHS

Michael VolleBECKMESSER

Johannes Martin KränzlePOGNER

Hans-Peter KönigNIGHT WATCHMAN

Matthew Rose

DIE MEISTERSINGER VON NÜRNBERG

Dasch

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Botha

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ACT I The Pontevedrian ambassador in Paris, Baron Mirko Zeta, is giving a ball at the embassy to raise funds for his bankrupt home country. His wife, Valencienne, flirts with the young Frenchman Camille de Rosillon, who declares his love for her and writes “I love you” on her fan. Zeta eagerly awaits the arrival of the guest of honor, Hanna Glawari, a wealthy Pontevedrian widow. He plans to get Danilo Danilovitch, a womanizing aristocrat, to marry her so that her millions will stay in Pontevedro. Hanna arrives, showered with compliments

by the Parisian men. Valencienne realizes she has lost her fan with the incriminating message and rushes out to look for it. Finally Danilo arrives, fresh from a night of partying at Maxim’s. He and Hanna talk, revealing that they were once in love, but he tells her he’s not interested in marriage. He then meets with Zeta, who orders him to marry Hanna for the good of Pontevedro. Danilo says he will keep all the Parisian men away from her, but will not marry her. Hanna and Danilo flirt and finally dance.

Renée Fleming stars as the beguiling woman who captivates all of Paris in Lehár’s enchanting operetta, seen in a new production by Broadway virtuoso director and choreographer Susan Stroman. Nathan Gunn co-stars as Danilo and Kelli O’Hara makes her company debut as Valencienne. Sir Andrew Davis conducts.

FRANZ LEHÁR

NEW PRODUCTION

THE MERRY WIDOW

Fleming and Gunn

| 29 |

INTERMISSION

ACT II The following day, Hanna hosts a party at her villa. Zeta commands Danilo to return to his mission of keeping the Parisian men from Hanna— particularly Camille. Danilo’s assistant, Njegus, reveals that Camille is already in love with a mystery woman. Zeta wants to know who she is in order to marry her off to Camille. Believing the mysterious fan to be the key to her identity, he asks Danilo to find its owner. When Hanna comes across the inscribed fan, she assumes it is a gift to her from Danilo, but he still won’t say “I love you.” Zeta, still trying to learn the identity of Camille’s secret lover, asks Danilo to meet him in the pavilion. Camille and Valencienne finally find the missing fan, and this time Valencienne writes “I am a respectable wife” on it. Observed by Njegus, they disappear into the pavilion. When Zeta arrives, Njegus prevents him from entering to protect Valencienne’s secret and instead sneaks Hanna in to take her place. Hanna emerges with Camille, announcing their engagement. A furious Danilo departs for Maxim’s, which Hanna takes as proof of his love.

ACT III At Maxim’s, the grisettes—among them a dressed-up Valencienne—entertain the crowd. Danilo and Hanna arrive. He forbids her to marry Camille. When she explains that she was merely safeguard-ing another woman’s reputation, he is delighted but still won’t declare his love. As the guests reassemble, Danilo announces that Hanna will not marry Camille, but he will not reveal the identity of Camille’s secret lover. Njegus produces the fan and Zeta finally recognizes it as his wife’s. He declares himself divorced and proposes to Hanna—who informs him that, according to her late husband’s will, she will lose her fortune if she remar-ries. At this, the other men lose interest in Hanna, except Danilo, who now declares his love and proposes to Hanna. She accepts and amends her account of the will: upon remarrying her fortune will pass to her new husband. Valencienne returns and asks Zeta to read the other side of her fan—she is a respectable wife. With the couples united, the men are left to wonder about the mystery of women.

Production a gift of The Sybil B. Harrington Endowment Fund

LIVE IN HDJanuary 17, 201512:55 PM ET

ENCORE BROADCASTSFebruary 28, 201512:00 PM ET & AT*

March 2, 20156:30 PM LOCALApprox. running time: 2 hours 55 min.

LIVE IN HD DIRECTOR

Gary Halvorson

ENGLISH TRANSLATION

Jeremy SamsCONDUCTOR

Sir Andrew DavisPRODUCTION

Susan StromanSET DESIGNER

Julian CrouchCOSTUME DESIGNER

William Ivey LongLIGHTING DESIGNER

Paule ConstableCHOREOGRAPHER

Susan Stroman

HANNA GLAWARI

Renée FlemingVALENCIENNE

Kelli O’HaraDANILO

Nathan GunnCAMILLE DE ROSILLON

Alek ShraderBARON MIRKO ZETA

Sir Thomas Allen

O’Hara

THE MERRY WIDOW

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Tenor Vittorio Grigolo sings the title role of the tortured poet in Offenbach’s masterpiece. Thomas Hampson plays the Four Villains and Yves Abel conducts.

JACQUES OFFENBACH

LES CONTES D’HOFFMANN

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PROLOGUE In a tavern, the poet Hoffmann, unhappily in love with the celebrated singer Stella, tells the stories of his three past loves…

ACT I The inventor Spalanzani has created a mechanical doll named Olympia. Hoffmann, who thinks she is Spalanzani’s daughter, has fallen in love with her. At a ball, Olympia captivates the guests with a dazzling aria and dances with the enchanted Hoffmann. When Spalanzani’s former part-ner, Coppélius, destroys the doll in a rage, Hoffmann is shocked to realize he has fallen in love with a machine.

INTERMISSION

ACT II Antonia, whose mother was a famous singer, has a weak heart and knows that singing will endanger her life. Hoffmann, who loves her, begs her to give it up, but when the charlatan Dr. Miracle conjures up the voice of her mother, Antonia can’t resist—she sings until she falls dead.

INTERMISSION

ACT III Giulietta, a Venetian courtesan, is bribed by the sinister Dapertutto to steal Hoffmann’s reflection for him. She seduces Hoffmann into confess-ing his love and leads him on with promises of a rendezvous. After kill-ing Giulietta’s previous lover in a duel, Hoffmann finds her in the arms of another man.

EPILOGUE Stella arrives in the tavern and, finding Hoffmann drunk, leaves with his rival, the wealthy Lindorf. Hoffmann’s Muse tells the poet to find consolation in his creative genius.

Production a gift of the Hermione Foundation, Laura Sloate, Trustee;

and the Gramma Fisher Foundation, Marshalltown, Iowa

Additional funding from the Estate of Helen F. Kelbert, and Mr. and Mrs. William R. Miller

LIVE IN HDJanuary 31, 201512:55 PM ET

ENCORE BROADCASTSMarch 28, 201512:00 PM ET & AT*

March 30, 20156:30 PM LOCALApprox. running time: 3 hours 45 min.

LIVE IN HD DIRECTOR

Barbara Willis Sweete

CONDUCTOR

Yves Abel PRODUCTION

Bartlett SherSET DESIGNER

Michael YearganCOSTUME DESIGNER

Catherine ZuberLIGHTING DESIGNER

James F. IngallsCHOREOGRAPHER

Dou Dou Huang

OLYMPIA

Erin MorleyANTONIA / STELLA

Hibla GerzmavaGIULIETTA

Christine Rice NICKLAUSSE / THE MUSE

Kate LindseyHOFFMANN

Vittorio GrigoloFOUR VILLAINS

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Iolanta Iolanta is blind. She lives a secluded life, hidden away from the world by her father, King Rene. His greatest concern is for her never to find out she is blind. He also doesn’t want the news of Iolanta’s blindness to reach Robert, her future husband. Iolanta is convinced that eyes are only for crying. But she is becoming anxious and has some vague presen-timents. The King arrives with a famous Moorish physician, whose diagnosis is clear: Iolanta must be told of her disability before treatment can begin. Rene says no.

Robert and Vaudemont appear at Iolanta’s house. They are overawed—the place seems to hide a secret. They meet Iolanta, not knowing who she is. Robert doesn’t realize she is his betrothed, whom he doesn’t want to marry because he loves someone else. Enchanted with Iolanta’s beauty, Vaudemont asks her to give him a red rose as a keepsake. Iolanta hands him a white one, twice. Vaudemont realizes that she can’t see. King Rene catches him talking to Iolanta and is furious with him for revealing the secret to her. With no will of her own, Iolanta doesn’t even know whether she

Anna Netrebko takes on her second Tchaikovsky heroine at the Met in the company premiere of Iolanta, opposite Piotr Beczala. Nadja Michael and Mikhail Petrenko star in Bartók’s Bluebeard’s Castle. Mariusz Trelinski’s new production of this intriguing double bill is conducted by Valery Gergiev.

PETER TCHAIKOVSKY / BÉLA BARTÓK

NEW PRODUCTION / †METROPOLITAN OPERA PREMIERE

IOLANTA† / BLUEBEARD’S CASTLE

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wants to be able to see—she will do anything her father tells her. This only confirms the doctor’s words that without an inner desire, no change is pos-sible. To awaken her desire to regain her sight, the King threatens that if the treatment fails Vaudemont will be killed. Iolanta is healed and her father con-sents to her marriage to Vaudemont. But regaining her sight doesn’t bring Iolanta the expected deliverance. Blinded by the world, she can’t believe that the people she loves look the way they do. Her love for Vaudemont and the wedding ceremony subdue her fears. Will it be forever?

INTERMISSION

Bluebeard’s Castle Judith has come to live with Bluebeard, having left her family home and her peaceful, ordered existence. Bluebeard’s secret mesmerizes her—she knows the terrifying rumors, she fears she may be on a road of no return, yet she decides to enter his home. The door closes. Judith confesses her love for Bluebeard, believing that it will change him and light up his gloomy home. She repeats her profession of love like a mantra as she demands that the doors to seven rooms be opened. The first one is a torture chamber, the second an armory. These rooms fill her with terror. The next doors conceal a treasury and a garden. Then Bluebeard shows his empire to Judith. She sees blood everywhere: on jewels, weapons, flowers. She doesn’t want to defer to Bluebeard who says, “Love me” and “Ask no questions.” Judith responds that she does love him and wants him to open up to her, reveal his inner self, uncover his fears. She demands that all the doors be opened. The sixth door, which conceals a sea of tears, is where Judith reaches the limit of knowledge. That leaves the seventh door. Behind it is a space beyond life, on the border of life and death. There are concealed Bluebeard’s previous wives. Passing through the seventh door, Judith joins them. She is made a part of Bluebeard’s space forever. The circle of her journey closes. Or, per-haps it closed a long time ago, when she first met Bluebeard?

Production a gift of Ambassador and Mrs. Nicholas F. Taubman

Additional funding from Mrs. Veronica Atkins, and

Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi

Co-production of the Metropolitan Opera and Teatr Wielki–Polish National Opera

LIVE IN HDFebruary 14, 201512:30 PM ET

ENCORE BROADCASTSApril 11, 201512:00 PM ET & AT*

April 13, 20156:30 PM LOCAL

Approx. running time: 3 hours 40 min.

LIVE IN HD DIRECTOR

Gary Halvorson

CONDUCTOR

Valery GergievPRODUCTION

Mariusz TrelińskiSET DESIGNER

Boris KudličkaCOSTUME DESIGNER

Marek AdamskiLIGHTING DESIGNER

Marc HeinzVIDEO PROJECTION DESIGNER

Bartek MaciasCHOREOGRAPHER

Tomasz Wygoda

IolantaIOLANTA

Anna NetrebkoVAUDÉMONT

Piotr BeczalaROBERT

Alexey MarkovIBN-HAKIA

Elchin AzizovRENÉ

Alexei Tanovitski

Bluebeard’s CastleJUDITH

Nadja MichaelBLUEBEARD

Mikhail Petrenko

Michael

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ACT I Loch Katrine, Stirlingshire, Scotland. Elena, the Lady of the Lake, makes her daily crossing while shepherds watch their flocks and men hunt in the woods. She sings of her love for Malcolm Groeme, but comes across King James, who has disguised himself as “Uberto,” hoping to meet the legend-ary beauty Elena. Believing the King to be a hunter who has lost his way, she offers him hospitality and they depart for her home, while the King’s men search for their disguised leader.

King James learns that Elena’s father is Duglas d’Angus, his former tutor, who has since joined the Highland Clan that is opposed to James’s rule. He also learns of Elena’s betrothal to Rodrigo di Dhu, the chief of the Highland Clan and enemy of the King, but his jealousy is assuaged by Elena’s luke-warm reaction to the prospect of her marriage. Malcolm, the suitor whom Elena loves, arrives shortly after James departs. Hidden, Malcolm must endure overhearing Duglas order his

Joyce DiDonato and Juan Diego Flórez deliver vocal fireworks in the Met premiere of Rossini’s brilliant adaptation of Sir Walter Scott’s The Lady of the Lake, a dazzling bel canto showcase and one of the composer’s most influential works. Rising conductor Michele Mariotti is on the podium.

GIOACHINO ROSSINI

NEW PRODUCTION / METROPOLITAN OPERA PREMIERE

LA DONNA DEL LAGO

DiDonato

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daughter to marry Rodrigo, as he commands. After Duglas has left, Malcolm and Elena pledge their love.

The Highland warriors gather to welcome their leader, Rodrigo, who intro-duces Elena as his future bride. Malcolm has now resolved to join the clan against the King, but his secret bond with Elena is perceived by Duglas and Rodrigo when they meet. When news arrives of an attack by the King’s army and the omen of a meteor passing in the sky, Rodrigo and his warriors depart for battle. Scotland is at war.

INTERMISSION

ACT II Still disguised as “Uberto,” James searches desperately for Elena, hoping to protect her from the coming bloodshed. When he finds her he once again declares his love, but she rejects his advances. He then gives her a ring which he claims was given to him by the King and will secure her protection from the King’s forces. Rodrigo, who has overheard the conver-sation, attempts to have his soldiers kill the stranger, but Elena intercedes. Rodrigo vows to duel with “Uberto” himself.

Meanwhile, Malcolm has left the battle in the hopes of finding Elena, but is informed she has followed her father to Stirling Palace to seek peace. Rodrigo is reported to have been killed and the Higlanders now face certain defeat. Malcolm declares that he will save Elena or face his own death. Elena enters the castle, determined to save the lives of her father, Malcolm, and Rodrigo. Using the ring given to her by “Uberto” she gains access to the King’s chambers.

Elena is surprised to see nobles surrounding “Uberto,” who soon reveals his true identity. His feelings for her soften his attitude towards her father, and he pardons both Duglas and Malcolm. Elena and Malcolm are finally united, and all rejoice as a new peace reigns in Scotland.

Production a gift of the Betsy and Edward Cohen/Areté Foundation Fund for

New Productions and Revivals, and Dominique and Frédéric Laffont

Additional funding from Mr. and Mrs. William R. Miller, and William and Helen Little

Co-production of the Metropolitan Opera and the Santa Fe Opera

LIVE IN HDMarch 14, 201512:55 PM ET

ENCORE BROADCASTSMay 9, 201512:00 PM ET & AT*

May 11, 20156:30 PM LOCALApprox. running time: 3 hours 30 min.

LIVE IN HD DIRECTOR

Barbara Willis Sweete

CONDUCTOR

Michele MariottiPRODUCTION

Paul CurranSET & COSTUME DESIGNER

Kevin KnightLIGHTING DESIGNER

Duane SchulerPROJECTION DESIGNER

Driscoll Otto

ELENA

Joyce DiDonatoMALCOLM GROEME

Daniela BarcellonaGIACOMO V (KING JAMES)

Juan Diego FlórezRODRIGO DI DHU

John OsbornDUGLAS D’ANGUS

Oren Gradus

Flórez

LA DONNA DEL LAGO*E

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Cavalleria RusticanaA village in southern Italy. At dawn on Easter Sunday, Turiddu is heard singing of his love for Lola, Alfio’s wife. Turiddu and Lola had been lovers before her marriage. He has since taken up with Santuzza but now has abandoned her and rekindled his relationship with Lola. A distraught Santuzza approaches the tavern of Mamma Lucia, Turiddu’s mother. Alfio also arrives. As the villagers follow the procession to church, Santuzza pours out her grief to Mamma Lucia, who expresses her pity. Turiddu appears and is confronted by Santuzza but denies her accusations. Just then Lola passes by on her way to church. Turiddu turns to follow her, but Santuzza begs him not to abandon her. When he dismisses her pleas she curses

him. Alfio returns and Santuzza reveals that his wife has been cheating on him. In a rage, Alfio swears to get even and rushes off, leaving behind the now conscience-stricken Santuzza.

After mass the villagers gather at Mamma Lucia’s tavern. Turiddu leads them in a drinking song, but the atmosphere turns tense when Alfio appears and challenges Turiddu to a knife fight. Turiddu admits his guilt but is determined to go through with the duel, for Santuzza’s sake as well as for his honor. He begs his mother to take care of Santuzza should he not come back and runs off to the fight. As Mamma Lucia waits anxiously, shouts are heard in the distance. A woman runs in screaming that Turiddu has been killed.

Tenor Marcelo Álvarez takes on the challenge of singing both leading tenor roles in opera’s most popular double bill. Sir David McVicar’s vivid new production, led by Fabio Luisi, also stars Eva-Maria Westbroek and Patricia Racette.

PIETRO MASCAGNI / RUGGERO LEONCAVALLO

NEW PRODUCTION

CAVALLERIA RUSTICANA / PAGLIACCI

Álvarez

| 37 |

INTERMISSION

PagliacciPROLOGUE Tonio the clown announces that what the audience is about to see is a true story and that actors have the same emotions as other people.

ACT I A small theatrical company has just arrived in the village and Canio, the head of the troupe, advertises the night’s performance. One of the vil-lagers suggests that Tonio is secretly courting Canio’s young wife, Nedda, but Canio warns them all that he will not tolerate any flirting offstage. Nedda is disturbed by her husband’s jealousy and longs for freedom. When Tonio tries to force himself on her, she beats him back. He swears revenge. In fact, Nedda does have a lover—Silvio, a young peasant. He now appears and persuades Nedda to run away with him that night. Tonio, who has overheard the conversation, alerts Canio, but Silvio manages to slip away unrecognized. Canio threatens Nedda but she refuses to reveal her lover’s name. Beppe, another member of the troupe, restrains Canio, and Tonio advises him to wait until the evening’s performance to catch the culprit. Alone, Canio gives in to his despair—he must play the clown even though his heart is breaking.

ACT II That evening, the villagers assemble to watch the performance, Silvio among them. Harlequin (played by Beppe) serenades Columbine (Nedda). He dismisses her buffoonish servant Taddeo (Tonio), and over dinner the two sweethearts plot to poison Columbine’s husband, Pagliaccio (Canio). When Pagliaccio unexpectedly appears, Taddeo maliciously assures him of his wife’s innocence, which ignites Canio’s jealousy. Forgetting the play, he demands that Nedda tell him the name of her lover. She tries to continue with the performance, the audience enthralled by its realism, until Canio snaps. In a fit of rage he stabs Nedda and then Silvio, who rushes to her aid. Turning to the horrified crowd, Canio announces that the comedy is over.

Production a gift of M. Beverly and Robert G. Bartner, Mr. and Mrs. Paul M. Montrone,

and the Estate of Anne Tallman

Major funding from Rolex

Additional funding from John J. Noffo Kahn and Mark Addison, and Paul Underwood

LIVE IN HDApril 25, 201512:30 PM ET

ENCORE BROADCASTSJune 6, 201512:00 PM ET & AT*

June 8, 20156:30 PM LOCAL

Approx. running time: 3 hours 30 min.

LIVE IN HD DIRECTOR

Gary Halvorson

CONDUCTOR

Fabio LuisiPRODUCTION

Sir David McVicarSET DESIGNER

Rae SmithCOSTUME DESIGNER

Moritz JungeLIGHTING DESIGNER

Paule ConstableCHOREOGRAPHER

Andrew GeorgeVAUDEVILLE CONSULTANT

Emil Wolk

Cavalleria RusticanaSANTUZZA

Eva-Maria WestbroekTURIDDU

Marcelo ÁlvarezALFIO

Željko Lučić

PagliacciNEDDA

Patricia RacetteCANIO

Marcelo ÁlvarezTONIO

George GagnidzeSILVIO

Lucas Meachem

Westbroek

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PHOTO CREDITS: Ken Howard/Metropolitan Opera (cover, 8: Il Barbiere di Siviglia, 12: Il Barbiere di Siviglia, 16, 18, 20, 22, 23, 24, 25, 37);

Marty Sohl/Metropolitan Opera (3, 4, 6: Netrebko, 12: Macbeth, 14, 30, 31); Anne Deniau/Metropolitan Opera (5: Pagliacci, 8: Álvarez,

13; Pagliacci, 36); Brigitte Lacombe/Metropolitan Opera (5: The Merry Widow, 28); Andrea Kremper/Baden-Baden Festival (5: Iolanta, 32);

Ken Howard/Santa Fe Opera (5: La Donna Del Lago, 34); Jonathan Tichler/Metropolitan Opera (6: Gelb); Beatriz Schiller/

Metropolitan Opera (26, 27: Botha); Krzysztof Bielinski/Teatr Wielki (13; Bluebeard’s Castle, 33);

Clive Barda/Royal Opera House (27: Dasch); Joan Marcus (29)