Magda Szayer

Inspired by Wagner’s own tortured affair with the wife of his patron, this searing masterwork is based on Arthurian legend and tells of an illicit romance between a Breton nobleman and the Irish princess betrothed to his uncle and king. The composer’s larger-than-life sensibilities are on full display throughout the score: Along with intoxicating orchestral music that surges in tandem with the couple’s burgeoning passion and a chord left symbolically unresolved until the last moments of the opera, the opera also features one of the repertory’s most soaring and ecstatic final climaxes, as Isolde surrenders to a love so powerful that she transcends life itself.

The Met production easily has the most beautiful staging, designed by Otto Schenck, who also produced the fabulous set for the Met's previous Ring cycle. Kurt Moll is a wonderful Gurnemanz, but compared to his studio recording under Karajan a decade earlier it has lost some of its original velvety body and luster. As Parsifal, Jerusalem is starting to show some wear and tear on his voice at the Met in 1992 as opposed to his prime form at Bayreuth in 1981, but is still quite good; only Placido Domingo could compete with him in the role at that time.

What happened to Figaro and his friends after the events told in Rossini’s and Mozart’s operas? One possible sequel is told in John Corigliano’s “grand opera buffa” The Ghosts of Versailles—an uproariously funny and deeply moving work inspired by Beaumarchais’s third Figaro play, La Mère Coupable, and commissioned by the Met to celebrate its 100th anniversary. This telecast captures its world premiere run, conducted by James Levine. Håkan Hagegård is Beaumarchais, Figaro’s creator, who is deeply in love with Marie Antoinette (Teresa Stratas in a heart-searing performance) and determined to rewrite history and save her from the guillotine. A young Renée Fleming, at the beginning of her international career, sings the unfaithful Rosina. Gino Quilico is the wily Figaro who tries to take matters in his own hands, and Marilyn Horne stops the show as the exotic entertainer Samira.

What happened to Figaro and his friends after the events told in Rossini’s and Mozart’s operas? One possible sequel is told in John Corigliano’s “grand opera buffa” The Ghosts of Versailles—an uproariously funny and deeply moving work inspired by Beaumarchais’s third Figaro play, La Mère Coupable, and commissioned by the Met to celebrate its 100th anniversary. This telecast captures its world premiere run, conducted by James Levine. Håkan Hagegård is Beaumarchais, Figaro’s creator, who is deeply in love with Marie Antoinette (Teresa Stratas in a heart-searing performance) and determined to rewrite history and save her from the guillotine. A young Renée Fleming, at the beginning of her international career, sings the unfaithful Rosina. Gino Quilico is the wily Figaro who tries to take matters in his own hands, and Marilyn Horne stops the show as the exotic entertainer Samira.

John Copley’s colorful production, with designs by Beni Montresor, was created around the beloved superstar Luciano Pavarotti. As the simple, good-hearted Nemorino, he enchanted audiences with his larger-than-life personality as well as his golden voice. Enzo Dara as the quack Dr. Dulcamara provides the elixir of the title that helps Nemorino win the heart of Adina, the girl of his dreams, sung with youthful energy by Kathleen Battle.

John Copley’s colorful production, with designs by Beni Montresor, was created around the beloved superstar Luciano Pavarotti. As the simple, good-hearted Nemorino, he enchanted audiences with his larger-than-life personality as well as his golden voice. Enzo Dara as the quack Dr. Dulcamara provides the elixir of the title that helps Nemorino win the heart of Adina, the girl of his dreams, sung with youthful energy by Kathleen Battle.

Luciano Pavarotti brings his spectacular voice and artistry to one of the most famous of all tenor roles—Manrico, the ardent troubadour, trapped in an impossible situation by forces beyond his control. The sensational Dolora Zajick, only days after her Met debut, gives an incandescent performance as the demented gypsy Azucena, thirsting for revenge against Count Di Luna (Sherrill Milnes). Eva Marton is the passionate Leonora, desired by both Manrico and the Count, and James Levine brilliantly leads the Met’s orchestra and chorus in some of Verdi’s best-known music.

Jessye Norman is a regal Ariadne, the mythological Greek heroine in this opera-within-an-opera, opposite the passionate Bacchus of the great James King. Kathleen Battle delivers the coloratura fireworks of Zerbinetta, the leader of a commedia dell’arte troupe that finds itself stranded on Ariadne’s island. Tatiana Troyanos and Franz Ferdinand Nentwig star as the young Composer and the Music Master in the opera’s prologue. James Levine brings out all the color and charm of Strauss’s brilliant chamber-sized score with its equal amounts of pathos and humor. Bodo Igesz’s production features sets by esteemed designer Oliver Messel.