Julien Robbins

La brillante production de John Dexter de l’opéra brûlant de Britten met en vedette Dwayne Croft dans le rôle-titre du beau jeune marin dont la gentillesse et l’innocence provoquent sa chute. Le grand James Morris est Claggart, maître d'armes sur le navire de guerre Indomitable du XVIIIe siècle, qui accuse à tort Billy d'avoir incité à la mutinerie. Philip Langridge chante Captain Vere, l'honnête commandant qui sait que Billy est innocent mais se trouve incapable de le sauver. Steuart Bedford, proche collaborateur de Britten durant les dernières années de la vie du compositeur, est sur le podium.

Every woman wants him, every man wants to be him: Mozart’s version of the irresistible rogue who brings excitement with him and leaves destruction it his wake has always attracted top singing actors, as in this performance brilliantly led by James Levine. Samuel Ramey is Don Giovanni, pursued by the incandescent Karita Mattila (Donna Elvira) in her Met debut season and role, and by the white-hot avenging fury of Carol Vaness (Donna Anna.) Ferruccio Furlanetto delivers a masterful comic turn as the Don’s servant, Leporello.

Glyndebourne's intimate opera house provides the perfect setting for Rossini's third French opera, a sparkling medieval comedy of lust and chastity.

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.

Live from the Metropolitan Opera, 14 February 1980. This version takes place in Boston rather than Sweden.

Giancarlo Del Monaco’s atmospheric production brings to colorful life a 19th-century mining camp during the California Gold Rush. At the center of the action is the good-hearted bar owner Minnie, sung by Barbara Daniels, who takes a motherly interest in the miners. Plácido Domingo is Dick Johnson, also known as the bandit Ramerrez, who falls in love with Minnie. Sherrill Milnes sings Jack Rance, the sheriff who is not only determined to capture Ramerrez but also wants Minnie for himself. Bloodshed, a crooked poker game, a snowstorm, and a near lynching ensue before Minnie and her bandit-turned-lover can ride off to start a new life. Leonard Slatkin conducts one of Puccini’s most colorful scores.

Opera greats Luciano Pavarotti and Joan Sutherland -- one of the most acclaimed tenors and one of the most beloved sopranos of the 20th century -- take the stage at the Met for a gala evening of opera scenes with special guest Leo Nucci. Filmed in 1987, the memorable program includes scenes from the first and third acts of Donizetti's "Lucia di Lammermoor," the third act of Verdi's "La Traviata" and the third act of Verdi's "Rigoletto."

All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.

Le chef-d’œuvre épique de Berlioz raconte la magnifique saga des suites de la guerre de Troie et des exploits d’Énée. Le ténor montant Bryan Hymel, dans ses débuts au Met, incarne le héros chargé par les dieux de la fondation de la ville de Rome. Susan Graham incarne Didon, reine de Carthage, qui devient l'amante d'Énée, et Deborah Voigt chante Cassandra, la princesse troyenne dont les avertissements sur la destruction imminente de Troie restent lettre morte. La production atmosphérique de Francesca Zambello, mettant en vedette la chorégraphie de Doug Varone, est dirigée par le chef d'orchestre principal du Met, Fabio Luisi.

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.