Figaro (new Richard Eyre production)
Abdrazakov, Majeski, Petersen, Leonard, Mattei / Levine (September-October)
Schrott, Willis-Sørensen, de Niese, Malfi, Kwiecien / de Waart (December)
Levine opens the season, as he should, with an excellent male cast and a somewhat odd but not impossible female cast for this new Figaro. As for the second bunch, I've knocked Erwin Schrott's Figaro in the past, and still have little hope for dramatic parts, but his excellence in comedy since then offers hope. Edo de Waart conducted some of the best Figaro performances that the last Met production had.
[A bit of shuffling makes for two promising Americans as the Countess: Amanda Majeski, a real find for the roster, sings this month while 2010 Met Council winner Rachel Willis-Sørensen makes her debut in the second run.]
La Boheme
Scherbachenko, Papatanasiu, Hymel, Kelsey, Lavrov, Soar, Maxwell / Frizza (September-early October)
Opolais, Papatanasiu/Phillips, Vargas, Salsi, Arduini, Rose, Del Carlo / Frizza (November/early December)
Gheorghiu, Phillips, Vargas, Salsi, Arduini, Rose, Del Carlo / Frizza (December 10/13)
Opolais, Yoncheva, Borras, Kwiecien, Arduini, Soar, Del Carlo / Frizza (January)
Wait... Gheorghiu is back!? (I still suspect her Mimi will be too much Musetta, but...)
[January's tenor, originally TBA, is now Jean-François Borras who apparently subbed for Kaufmann in Werther this spring.]
Macbeth
Lucic, Netrebko, Calleja, Pape / Luisi (September-October)
Wait... Netrebko is singing Lady Macbeth!? Nice cast the rest of the way around.
Carmen
Rachvelishvili, Antonenko, Hartig, Cavalletti / Heras-Casado (September-early November)
Garanca, Alagna, Pérez, Bretz / Langrée (February)
Garanca, Kaufmann, Pérez, Bretz / Langrée (March)
Rachvelishvili has the beefy Aleksandrs Antonenko opposite her this time, while Garanca gets the tenor star power. Hei-Kyung Hong spells both primary Micaelas (Anita Hartig and 2012 Tucker winner Ailyn Pérez) for a performance each.
Magic Flute (not the kids' version)
Yende, Durlovski, Spence, Werba, McKinny, Pape / Fischer (October)
Persson, Lewek, Spence, Werba, McKinny, Kehrer / Fischer (October-November)
2013 emergency debutant Pretty Yende and 2009 definitive Sophie Miah Persson split this return of the Magic Flute into adult-show circulation. [Tobias Kehrer debuts as Sarastro in place of Franz-Josef Selig.]
Death of Klinghoffer (new Tom Morris production)
Martens, Panikkar, Szot, Opie, Allicock, Green / Robertson (October-November)
After selling child sex (in Robertson's last show in the pit), surely the scapegoating murder of an American Jew won't be a big deal for the Met.
Aida
Monastyrska, Borodina, Giordani, Lucic, Belosselskiy, Howard / Armiliato (October-November)
Wilson, Urmana, Giordani, Dobber, Belosselskiy, Howard / Armiliato (December-January)
Dyka, Urmana, Berti, Lucic, Kocán, Orlov / Domingo (April)
I mean, it's interesting to see that Urmana is singing Amneris now, but all of these casts are irritatingly flawed. 2006 Met Council winner Marjorie Owens is, incidentally, doing one performance (January 2) in place of
Lady Macbeth of Mtsensk
Westbroek, Jovanovich, Very, Kotscherga / Conlon (November)
Remember when Graham Vick shows were a thing? Actually, this should be an interesting revival.
Barber of Seville
Maltman, Leonard, Brownlee, Muraro, Burchuladze / Mariotti (November-December)
I'm not sure Christopher Maltman is much more of a natural Figaro than Peter Mattei was, but at least they aren't wasting Mattei. Leonard and Brownlee make for a very nice young lead couple though.
Meistersinger
Morris, Dasch, Botha, Appleby, Cargill, Kränzle, König, Rose / Levine (December)
Volle, Dasch, Botha, Appleby, Cargill, Kränzle, König, Rose / Levine (December 9, 13)
[Perhaps the most important cast alteration was made without mention on the cast change page: in place of Johan Reuter (Barak in last season's FroSch revival), we get two shows of Michael Volle (Mandryka in the recent Arabella) and five with the man who should have been headlining in the first place... James Morris. At 67, unless Gelb brings back the old Valkyrie set for a much-deserved gala, this will surely be the great Wagnerian's last big run. A success as profound and definitive as his last Valkyries here in 2009 may be too much to expect, but the event is too much to miss even if Annette Dasch does unfortunately sing.]
On the one hand, Levine conducting Meistersinger is self-recommending. On the other, the one and only run of Annette Dasch at the Met showed her unfortunate inability to sing in tune. Somehow, even after her 2012 scheduled Donna Elviras were taken over late by Ellie Dehn, her agent has gotten her this prime return booking. What on earth? There are many, many excellent German lyric/jugendlich-dramatisch sopranos.
Perhaps as sad is the lack of the old star power that carried these shows. Not just Mattila (who opened this production)
La Traviata
Rebeka, Costello, Tézier / Armiliato (December)
Rebeka, Demuro, Tézier / Armiliato (December-January)
Poplavskaya, Demuro, Tézier / Armiliato (January)
As hard as the Met might try to top it, this is still its worst, most bathetic production. Don't see the show until there's a new one.
[Looks like Poplavskaya took a few of these shows to make up for dropping out of Figaro.]
Hansel and Gretel (childrens' version in English)
Kurzak, Rice, Martens, Brubaker, Croft / Davis (December-January)
Stober, Rice, Martens, Brubaker, Croft / Davis (January)
I still have never gotten around to seeing this. Sorry.
[Christine Schäfer is out, replaced by Aleksandra Kurzak, Heidi Stober, and (for the 1/8 performance) Andriana Chuchman.]
The Merry Widow (new Susan Stroman production)
Fleming, O'Hara, Gunn, Shrader, Allen / Davis (New Year's Eve through January)
Fleming, O'Hara, Gunn, Shrader, Allen / Nadler (January)
Graham, de Niese, Gilfry, Costello, Opie / Luisi (April)
Yup, that's Broadway's Kelli O'Hara making her Met debut as Valencienne for the winter run of this operetta. Given that importing Paulo Szot from Broadway has worked a lot better for Gelb than importing directors and librettists therefrom, I suppose I should be worrying about Stroman's ability to adapt Julian Crouch's wild visual ideas. Her staging couldn't possibly be worse than the last Merry Widow here, though.
[The January TBA conductor turned out to be pit vet Paul Nadler.]
Tales of Hoffmann
Grigolo, Morley, Gerzmava, Rice, Lindsey, Hampson / Abel (January-February 5)
Polenzani, Luna, Phillips, Maximova, Deschayes, Naouri / Levine (February 28-March)
[Almost as disappointing as the Meistersinger change was exciting: Hibla Gerzmava's attempt to do all the heroines, probably the main reason to see this initial cast, is now off. She's back to just singing Antonia/Stella, with Erin Morley and Christine Rice filling the higher and lower parts.]
The Met is making a huge bet on as-yet-unimpressive/unproven media hype beneficiary Vittorio Griogolo, though it's obviously no sure thing he's still singing this when this surprisingly good Bart Sher show returns. He gets the more interesting supporting cast, with Hibla Gerzmava -- who sang
Iolanta / Bluebeard's Castle (new Mariusz Trelinski productions)
Netrebko, Beczala, Markov, Azizov, Tanovitski; Michael, Petrenko / Gergiev (January-February)
Musically, a great double bill. Production and performance... may turn out to have great moments, but I think the Bartok in particular is betrayed by externalizing the action.
Don Giovanni
Mattei, Pisaroni, van den Heever, Bell, Lindsey, Korchak, Plachetka, Morris / Gilbert (February-March)
As I've said, the Met should have Mattei do Don Giovanni every season... perhaps now in rotation with Onegin. This time Alan Gilbert strolls across Lincoln Center Plaza to conduct, perhaps bringing the fire that too many of his early-music focused predecessors have lacked.
La Donna del Lago (new Paul Curran production)
DiDonato, Barcellona, Flórez, Osborn, Gradus / Mariotti (February-March)
Great job by DiDonato getting this Rossini opera finally onto the stage of the Met.
Manon
Damrau, Grigolo, Braun, Testé / Villaume (March)
Damrau as the fragile, indefatigably-charming Manon? I really don't see it, not even in this modernist-izing production.
Lucia di Lammermoor
Shagimuratova, Calleja, Capitanucci, Miles / Benini (March-April)
Calleja's last (2011) run as Edgardo was the bel canto tenor performance of a generation. Go. See. This.
Ernani
Meade, Meli, Domingo, Belosselskiy / Levine (March-April)
James Levine conducts most of the revival of this wonderful, under-appreciated opera that gave Angela Meade her debut. I suppose this is being revived for Domingo to attempt the baritone part of Charles V, but the success will largely depend on tenor Francesco's Meli's ability to survive the punishing title part.
Don Carlo
Frittoli, Gubanova, Lee, Keenlyside, Furlanetto, Morris / Nézet-Séguin (March 30-April)
Frittoli, Krasteva, Lee, Keenlyside, Furlanetto, Morris / Nézet-Séguin (April)
Rumor had it that this was going to be the French version this time, but no such thing is indicated. In any case, the cast and conductor are pretty great, even if the old production will still be missed. Though lead Yonghoon Lee is about the best spinto tenor going, it's nice to see Ricardo Tamura (who sang a Cavaradossi here last year) getting another Met performance.
Cavalleria Rusticana / Pagliacci (new David McVicar productions)
Westbroek, Álvarez, Lucic; Racette, Álvarez, Gagnidze, Meachem / Luisi (April-May)
Marcelo Alvarez had his acting seriousness turned against him by David Alden's dumb-as-dirt Ballo a season ago, so it's nice that he'll get to work with the brilliant McVicar in this new show.
Un Ballo in Maschera
Radvanovsky, Stober, Zajick, Beczala, Hvorostovsky / Levine (April-May)
No Yonghoon Lee (despite rumor) in a match of vocal-moral force vs force, but Beczala's easy charm and Levine's conducting may make a musical whole out of what, in its original run with Alvarez and Luisi, was less than the sum of its parts. (But oh what parts Radvanovsky and Blythe provided even then!)
The Rake's Progress
Claire, Blythe, Appleby, Finley, Sherratt / Levine (May)
Levine gets a brief revival of another 20th century classic.
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Absolutely no axe-grinding, please.