Verdi at the Met captures the drama of Verdi's greatest operas as they were performed live at The Metropolitan Opera in New York. These ten recordings cover four decades starting with La Traviata in 1935 and feature some of the best-loved voices and conductors of the twentieth century. The famous pairing of tenor Richard Tucker and baritone Leonard Warren can be heard in Simon Boccanegra and La Forza del Destino.
This package, released on Archiv Laserdisc and VHS in December 1993, was recorded a year earlier at Santa Maria Maggiore in Rome in cooperation with a consortium of European television broadcasters. It consists of two distinct but complementary programs, the first under McCreesh followed by another under Pinnock. As the notes point out, the basilica is the perfect site for such a program, since it has claimed to possess the very crib in which the infant lay on the first Christmas. For centuries the papal celebration of the Midnight Mass of Christmas was held “ad praesepe,” at the altar where the crib was venerated. Typically for such concert videos, we see appropriate scenes in the basilica alternating with views of the singers and players.
This marks the final offering from Opera Rara's laudable restoration of BBC broadcasts from the 1970s and '80s of Verdi's first thoughts on specific operas, and it is quite up to the standard of the series. It differs only in being given without an audience, and was broadcast two years after the recording.
Riccardo Muti's 2011 performances of Saverio Mercadante's I due Figaro (The Two Figaros) were the first it had received since 1835, and this Ducale release of the presentation at the Teatro Alighieri in Ravenna, Italy, is the world-premiere recording. The story of this comic opera is a sequel to events in the Beaumarchais plays, which inspired Rossini's Barber of Seville and Mozart's Marriage of Figaro; the characters of Figaro, Susanna, Cherubino, and the Count and Countess Almaviva are seen a decade later in another farce of disguises and deception. The music is very much in the animated style of Rossini, with an exotic quality that Mercadante discovered on his visit to Madrid, and the mood of the opera is brightened by the combination of Neapolitan tunefulness and Spanish dance rhythms.