Met On Demand free nightly stream

[Ein Heldenleben]

Just wondered whether anyone knew how to get this working? Tried clicking on tonight’s free stream Lucia di Lammermoor and it keeps inviting me to register for a 7 day free trial ...
Thanks in anticipation.

[Petrushka]

It could be because it hasn't started yet. A start time of 7.30 EDT is given which is GMT+4 with it being available until 6.30 EDT tomorrow (10.30 GMT). I think I've worked this out correctly.

A pity really as I'd have liked to have watched the Wagner broadcasts but not keen on being up through the night!

[Ein Heldenleben]

You are absolutely right - many thanks . I was in Met Matinee mode !

[LHC]

It could be because it hasn't started yet. A start time of 7.30 EDT is given which is GMT+4 with it being available until 6.30 EDT tomorrow (10.30 GMT). I think I've worked this out correctly.

A pity really as I'd have liked to have watched the Wagner broadcasts but not keen on being up through the night!

I think the broadcasts are available to watch for 24 hours, so you can watch it on the following day in the UK. I just checked the Met site, and was able to start watching Lucia di Lammermoor without having to sign up.

[bluestateprommer]

Anyone else watching the Metropolitan Opera virtual gala stream now?

https://metoperafree.brightcove.services/at-home-gala/index.html?videoId=6150080998001

Running tally of the artists & works from which selections are taken (presumably the Met will provide a more accurate full list later, after the event):
1. Peter Mattei, Lars David Nilsson (accordion): Mozart - Don Giovanni, "Deh vieni, alla finestra"
2. Roberto Alagna & Alexandra Kurzak (missed the pianist's name, sorry): Donizetti - L'eilsir d'amore, "Caro Elisir" (plus brief interpolation of "O sole Mio")
3. Anita Rachvelishvili, Nikoloz Rachveli (piano): Saint-Saens - Samson et Dalila, "Mon coeur s'oeuvre a ta voix"
4. Michael Fabiano (+ electronic keyboard track): Tchaikovsky - Eugene Onegin, "Kuda, kuda"
5. Renee Fleming (+ keyboard track): Verdi - Otello, "Ave maria"

Pre-recorded:
6. Mascagni: Cavalleria Rusticana - Intermezzo (Met Opera Orchestra; sync'ed to 'air conducting' from YNS)
7. Handel: Serse - 'Ombra mai fu'; Joyce Di Donato, Met Opera Orchestra violas (in memoriam Vincent Lionti, from the orchestra's viola section, lost to COVID-19)

Back to live:
8. Jonas Kaufmann, Helmut Deutsch (piano): Halevy - La Juive, "Rachel, quand le Seigneur"
9. Ambrogio Maestri, Marco Armiliato (piano): Giordano - Andrea Chenier, "Nemico della patria"
10. Erin Morley (on double duty): Donizetti - La fille du regiment, "Chacun le sait"
11. Michael Volle (+ keyboard track): Wagner - Tannhauser, "O, du meiner holder Abendstern"
12. Elza van den Heever (unaccompanied): Stephanus Le Roux Marais - "Heimwee"
13. Matthew Polenzani (on double duty): "Londonderry Air" ("Danny Boy")
14. Elina Garanca (+ iPhone keyboard track): Bizet - Carmen, "L'amour et un oiseau rebelle"

Pre-recorded:
15. Wagner: Lohengrin - Prelude to Act III (Met Opera Orchestra, sync'ed to YNS' "air conducting")

Back to live:
16. Sir Bryn Terfel, Hannah Stone (harp): Alma Bazel Androzzo - "If I can help somebody"
17. Jaime Barton, Jonathan Easter (upright piano): Verdi - Don Carlo, "O don fatale"
18. Quinn Kelsey, Nicole Bellamy (piano): Verdi - Don Carlo, "Per me giunto è il dì supremo"
19. Angel Blue (+ keyboard track): Charpentier - Louise, "Depuis le jour"
20. Rene Pape (+ keyboard track): Mozart - The Magic Flute, "In diesen heil'gen Hallen"

Pre-recorded:
21. Massenet: Thais - 'Meditation'; David Chan, violin; YNS, piano

Back to live:
22. Ildar Abdrazakov (+ keyboard track): Rachmaninov - "Spring Waters"
23. Joseph Callela, Maria Elena Ferrugia (piano): Gounod - Romeo et Juliette, "Ah, leve-toi, soleil"
24. Golda Schultz (+ keyboard track): Puccini - La Rondine, "Chi il bel sogno di Doretta"
25. Anthony Roth Costanzo (+ pre-recorded Met Opera musicians): Handel - Amadigi di Gaula, "Pena tiranna"
26. Sonya Yoncheva (+ keyboard track): Dvorak - Rusalka, "Song to the Moon"

Pre-recorded:
27. Verdi: Nabucco - "Va, pensiero" (Met Opera Chorus & Orchestra; Donald Palumbo, chorus master; synch'ed to 'air conducting' from YNS)

Back to live:
28. Nadine Sierra (+ keyboard track): Puccini - La boheme, "Si, mi chiamano Mimi"
29. Piotr Beczala (+ keyboard track): Puccini - Tosca, "Recondita armonia"
30. Diana Damrau & Nicolas Teste (+ keyboard track): Mozart - Don Giovanni, "La ci darem la mano"
31. Lawrence Brownlee (+ keyboard track): Bellini - I Puritani, "A te, o cara"
32. Gunther Groissböck (on double duty): Richard Strauss - Die schweigsame Frau, "Wie schön ist doch die Musik"

Pre-recorded:
33. Yusef Eyvazov, Jendrik Springer (piano): Puccini - La boheme, "Che gelida manina"

Back to live:
34. Isabel Leonard (unaccompanied): Bernstein & Sondheim - West Side Story, "Somewhere"
35. Ailyn Perez & Soloman Howard (+ keyboard track): Verdi - Luisa Miller, "A brani, a brani, o perfido"
36. Lisette Oropesa, Michael Borowitz (pre-recorded piano): Meyerbeer - Robert le diable, "En vain, j'espere"
37. Nicole Car & Etienne Dupuis (latter doubles as pianist): Massenet: Thais, "Baigne d'eau mes mains"
38. Stephen Costello, Yoon Kwon Costello (violin), plus iPhone keyboard: Gounod - Faust, "Salut! Demeure, chaste et pure"
39. Javier Camarena (+ keyboard track): Bellini - Il Pirata, "Nel furor delle tempeste"

Pre-recorded:
40. Anna Netrebko, Jendrik Springer (piano): Rachmaninov - "Sing not, O Lovely One", op. 4, no. 4

[Dave2002]

Can't find it on the site. How do you navigate to this?

[LHC]

Can't find it on the site. How do you navigate to this?

It’s on their website, but doesn’t appear to be available on the Met app, which is odd; perhaps it’s because it was a live stream rather than a recording.

[gurnemanz]

Didn't watch the Gala live but found recorded version on this link. https://metoperafree.brightcove.serv...=6152087622001

We have tickets for ROH Elektra with Nina Stemme in May, now of course cancelled. The other night by way of compensation we were able to watch her via their MET daily free-on-demand offer (Amazon Fire Stick plugged into telly).

[Dave2002]

It’s on their website, but doesn’t appear to be available on the Met app, which is odd; perhaps it’s because it was a live stream rather than a recording.

That’s what we found, which seems really strange. Normally we access the Met by the app on our Roku stick. I had to wire in the HDMI cable from my laptop to show the gala on a TV.

[Ein Heldenleben]

I thought the Met Gala was extraordinary - at times moving , at times slightly absurd . Erin Morley accompaning herself to the piano while singing a fiendishly difficult aria from Fille du Regiment being a highlight. My word she is a talent . This is a place to highlight , thank and salute the Met for their very generous gesture of relaying an opera every night.

[bluestateprommer]

Finally watched the first past Metropolitan Opera performance from their COVID-19 streaming series, the 1984 (televised in 1985) performance of Aida, with Leontyne Price in the title role, in what looked to be from her last set ever of performances in a Met Opera staging. Watching it now, over 35 years later, it really looks and feels from a different age in many ways. There is a fair bit of "park and bark" in the staging, but the apparent sheer weight of some of the costumes probably contributed to that. What is a bit disquieting to see is the obvious "blackface"/"brownface" of obviously white members of the chorus, and quite possibly the 3 lady dancers in the Act II, Scene 1 ballet, an action that might not pass muster today. The contrast of those performers with authentically African-American people on stage, like Price, Simon Estes (Amonasro), and a few supers among the prisoners, becomes that much more obvious.

Given that there's not much time left to see it in its one day run, I will happily spoil one moment, after Price sings "O patria mia" in Act III: just about 3 minutes of continuous applause. As much as possible, Price tried not to break character, and, I think, succeeded, while still managing to acknowledge the applause and stay in focus.

[LHC]

Finally watched the first past Metropolitan Opera performance from their COVID-19 streaming series, the 1984 (televised in 1985) performance of Aida, with Leontyne Price in the title role, in what looked to be from her last set ever of performances in a Met Opera staging. Watching it now, over 35 years later, it really looks and feels from a different age in many ways. There is a fair bit of "park and bark" in the staging, but the apparent sheer weight of some of the costumes probably contributed to that. What is a bit disquieting to see is the obvious "blackface"/"brownface" of obviously white members of the chorus, and quite possibly the 3 lady dancers in the Act II, Scene 1 ballet, an action that might not pass muster today. The contrast of those performers with authentically African-American people on stage, like Price, Simon Estes (Amonasro), and a few supers among the prisoners, becomes that much more obvious.

Given that there's not much time left to see it in its one day run, I will happily spoil one moment, after Price sings "O patria mia" in Act III: just about 3 minutes of continuous applause. As much as possible, Price tried not to break character, and, I think, succeeded, while still managing to acknowledge the applause and stay in focus.

I don't think 'blackface' was an issue with regard to opera until relatively recently. Domingo and others were still wearing dark make up to sing Otello until well into this Century. Domingo's film of Otello was made a couple of years after this production, and I don't recall his makeup being an issue. Indeed, I think until the most recent new production of Otello at the Met, all the tenors singing Otello there routinely 'blacked-up'. So I doubt it was considered controversial at the time, even if it looks decidedly uncomfortable now.

The first time I recall it being an issue at Covent Garden was in a production of Turandot, when Cynthia Hayman was singing Liu, and was required to wear very heavy make up to whiten her features. Everyone agreed this was bizarre and unnecessary, and I think subsequent performers in that production have not been asked to hide their features in the same way

Even now, I think it is mainly an issue in the US and the UK. In Italy, I think performers in Aida and Otello are still expected to wear 'blackface'.

[Dave2002]

The Met Aida looked really rather dated to me. I always used to think the Grand March should sound just that - "grand" - with all the orchestra in tune and in time, but I have seen performances not so long ago (ENO....) in which it seemed to be portrayed as an "oom-pah band" - with matching sounds from all the musicians involved. In the case of the 1985 Met production I wasn't sure what the intention was. The orchestral playing wasn't tight enough to put the performance into the first category.

The current Met orchestra, and many other orchestras which play for opera these days, are surely capable of much better performances than the 1985 orchestra.

The camera work was nothing like the standard of the latest series of Met productions, which we have become used to in more recent cinema screenings.

It was good to see Leontyne Price in this, one of her signature roles. For me the other outstanding performance, though relatively small, was by Simon Estes as Amonasro. Cossetto sang well as Amneris, but I didn't find her convincing. Some of the difficulties may be due to Verdi and his librettist.

[DracoM]

Met: 'Turandot' streamed last night [2.v.20]
Is it just me, but Nina Stemme - do not get the adulation.
I'm afraid I turned the event off...I could not take the voice.

[Dave2002]

Met: 'Turandot' streamed last night [2.v.20]
Is it just me, but Nina Stemme - do not get the adulation.
I'm afraid I turned the event off...I could not take the voice.

Was that the 2016 production? The set etc. looked pretty much the same as the most recent one, but this excerpt suggests that the actual performance (2019) was somewhat different and better - https://youtu.be/JVZtJ_m1wDs Stemme 2016

There seem to be lots of thumbs down for this fragment too.

Here the music is too slow (IMO) and the soprano has a terrific wobble. I don't remember the 2019 version being this "problematic", and the production was spectacular.