Met: Live in HDsupported financially by the Foundation for the Arts and Music in Asia, a Hong Kong-registered charity.
Met Opera: Live in HD 2017-18 Season
The Met: Live in HD series is made possible by a
generous grant from its founding sponsor,
Global corporate sponsorship of The Met: Live in HD is provided
The HD Broadcasts are supported by
20 January 2018 (SAT) 3:35 pm, AMC
5 May 2018 (SAT) 5:00pm, Bethanie Theatre
9 June 2018 (SAT) 5:00pm
“Ponselle, Milanov, Sutherland, Callas … after last night, Radvanovsky can add her name to the list,” declared the Huffington Post when Sondra Radvanovsky made her Met role debut as Norma in 2013. The 2017–18 season opens with a new production of Bellini’s masterpiece, starring Radvanovsky as the Druid priestess and Joyce DiDonato as her archrival, Adalgisa—a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful lover, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule.
18 March 2018 (SUN) 7:50pm, The Grand@Elements
2018年 3月18日(星期日)下午7時50分, The Grand@Elements
8 April 2018 (SUN) 4:10pm, AMC
20 May 2018 (SUN) 4:10pm, MOViE MOViE Cityplaza
16 June 2018 (SAT) 6:00pm, Bethanie Theatre
Following the rapturous response to his last opera, The Tempest, the Met presents the American premiere of Thomas Adès’s The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name. Hailed by the New York Times at its 2016 Salzburg Festival premiere as “inventive and audacious … a major event,” The Exterminating Angel is a surreal fantasy about a dinner party from which the guests can’t escape. Tom Cairns, who wrote the libretto, directs the new production, and Adès conducts his own adventurous new opera.
7 April 2018 (SAT) 2:20pm, UA
2018年 4月7日(星期六)下午2時20分, UA
29 April 2018 (SUN) 7:50pm, The Grand@Elements
2018年 4月29日(星期日)下午7時50分, The Grand@Elements
12 May 2018 (SAT) 5:30pm, Bethanie Theatre
19 May 2018 (SAT) 3:35pm, AMC
2018年 5月19日(星期六)下午3時35分, AMC
23 June 2018 (SAT) 3:35pm, MOViE
14 July 2018 (SAT) 5:30pm, Bethanie Theatre
Sir David McVicar’s ravishing new production offers a splendid backdrop for two extraordinary sopranos playing the title role of the jealous prima donna: Sonya Yoncheva and Anna Netrebko. Vittorio Grigolo and Marcelo Álvarez alternate in the role of Tosca’s revolutionary artist lover Cavaradossi, with Sir Bryn Terfel, Michael Volle, and Željko Lučić as the depraved police chief Scarpia. Maestro Emmanuel Villaume conducts.
27 May 2018 (SUN) 7:50 pm, The
2018年 5月27日(星期日)下午7時50分, The
7 July 2018 (SAT) 6:00pm, Bethanie Theatre
Pretty Yende debuts a new role at the Met with her first Adina opposite Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his ravishing “Una furtiva lagrima.” Bartlett Sher’s production is charming, with deft comedic timing, but also emotionally revealing. Domingo Hindoyan conducts.
2 June 2018 (SAT) 2:20 pm, UA Cine Times
2018年6月2日(星期六)下午2時20分, UA Cine Times
26 August 2018 (SUN) 7:50 pm, The Grand@Elements
2018年 8月26日(星期日)下午7時50分, The Grand@Elements
1 September 2018 (SAT) 5:30pm, Bethanie Theatre
The world’s most popular opera returns in Franco Zeffirelli’s classic production, with a series of exciting casts. Angel Blue, Anita Hartig, and Sonya Yoncheva share the role of the fragile Mimì, with Dmytro Popov, Russell Thomas, and Michael Fabiano alternating as the poet Rodolfo. Alexander Soddy and Marco Armiliato share conducting duties.
8 September 2018 (SAT) 5:00pm, Bethanie Theatre
This masterpiece of dazzling vocal fireworks makes a rare Met appearance—its first in nearly 25 years—with Maurizio Benini on the podium. The all-star bel canto cast features Angela Meade in the title role of the murderous Queen of Babylon, who squares off in breathtaking duets with Arsace, a trouser role sung by Elizabeth DeShong. Javier Camarena, Ildar Abdrazakov, and Ryan Speedo Green complete the stellar cast.
21 July 2018 (SAT) 2:20 pm, UA Cine Times
2018年 7月21日(星期六)下午2時20分, UA Cine Times
23 September 2018 (SAT) 7:50 pm, The Grand@Elements
2018年 9月23日(星期六)下午7時50分, The Grand@Elements
13 October 2018 (SAT) 5:00pm, Bethanie Theatre
A winning cast comes together for Phelim McDermott’s clever vision of Mozart’s comedy about the sexes, set in a carnival-esque, funhouse environment inspired by 1950s Coney Island—complete with bearded ladies, fire eaters, and a Ferris wheel. Manipulating the action are the Don Alfonso of Christopher Maltman and the Despina of Tony Award–winner Kelli O’Hara, with Amanda Majeski, Serena Malfi, Ben Bliss, and Adam Plachetka as the pairs of young lovers who test each other’s faithfulness. David Robertson conducts.
25 August 2018 (SAT) 3:20 pm, AMC
9 September 2018 (SUN) 3:20 pm, MOViE
6 October 2018 (SAT) 5:00pm, Bethanie Theatre
28 October 2018 (SUN) 7:50pm, The Grand@Elements
2018年10月28日(星期日)下午7時50分, The Grand@Elements
10 November 2018 (SAT) 5:00pm, Bethanie Theatre
Plácido Domingo adds yet another role to his legendary Met career in this rarely performed Verdi gem, a heart-wrenching tragedy of fatherly love. Sonya Yoncheva sings the title role opposite Piotr Beczała in the first Met performances of the opera in more than ten years. Bertrand de Billy conducts.
15 September 2018 (SAT)
2:30 pm, UA Cine Times
2018年9月15日(星期六)下午2時30分, UA Cine Times
29 September 2018 (SAT) 3:50 pm, AMC
27 October 2018 (SAT) 3:50 pm, MOViE
3 November 2018 (SAT) 5:30pm, Bethanie Theatre
2018 (SUN) 7:50 pm, The Grand@Elements
2018年11月25日(星期日)下午7時50分, The Grand@Elements
1 December 2018 (SAT) 5:30pm, Bethanie Theatre
“Glorious,” raved the New York Times when Joyce DiDonato sang the title role of Cendrillon at the Royal Opera in 2011. “Her performance was thoroughly enchanting.” Now, for the first time ever, Massenet’s sumptuous take on the Cinderella story comes to the Met, with DiDonato starring in the title role. She is paired with mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the imperious Madame de la Haltière. Bertrand de Billy conducts Laurent Pelly’s imaginative storybook production.
The MET's Documentary The Opera House (Special screening)
21 October 2018 (SUN) 7:50pm, The Grand@Elements
2018年10月21日(星期日)下午7時50分, The Grand@Elements
The Opera House, a new film by multiple Emmy Award–winning documentary filmmaker Susan Froemke, surveys a remarkable period of the Metropolitan Opera’s rich history and a time of great change for New York. Drawing on rarely seen archival footage, stills, and recent interviews, the film chronicles the creation of the Met’s storied home of the last 50 years, against the backdrop of the artists, architects, and politicians who shaped the cultural life of New York City in the ’50s and ’60s. Amongst the notable figures in the film are famed soprano Leontyne Price, who opened the new Met in 1966 in Samuel Barber’s Anthony and Cleopatra; Rudolf Bing, the Met’s imperious General Manager, who engineered the move from the old house to the new one; Robert Moses, the unstoppable city planner who bulldozed an entire neighborhood to make room for Lincoln Center; and Wallace Harrison, whose quest for architectural glory was never fully realized.
11 February 2018 (SUN) 7:50 pm, The
Grand@Elements 2018年2月11日(星期日)下午7時50分, The
In memory of Dmitri Hvorostovsky, a special encore of his last staged performance - Il Trovatore - is shown on cinema screens again. Soprano Anna Netrebko continues her journey into the dramatic Verdi repertoire as Leonora, the heroine who sacrifices her own life for the love of the gypsy troubadour. Tenor Yonghoon Lee sings the ill-fated Manrico, baritone Dmitri Hvorostovsky is his rival, and mezzo-soprano Dolora Zajick is the mysterious gypsy. Marco Armiliato conducts.
The Asia Society’s Miller Theatre is to become the ninth Hong Kong venue to screen The Met: Live in HD broadcasts as local appetite for opera continues to grow, says its organiser.
New York’s Metropolitan Opera started beaming its high-definition telecasts to selected cinemas in 2006. They are now viewed either live or, as is necessary in Hong Kong, delayed, at more than 2,000 venues in 70 countries.
Laurence Scofield, chairman of the non-profit organisation Foundation for the Arts and Music in Asia (Fama), which is responsible for the Hong Kong screenings, says Western opera now has a growing following in the city.
“Hong Kong is at a point of critical mass,” he says.“For all the fine arts you need a certain educational standard and level of socio-economic development. Hong Kong is at that point. It has evolved enormously, I’d say, in the last generation. People are pretty sophisticated and looking for new cultural experiences.”
The Miller Theatre is the latest to be added to a cluster of screening venues that include The Grand at Elements, AMC Pacific Place, and Bethanie in Pok Fu Lam. Appropriately the theatre in Admiralty will be showing three works set in Asia – Bizet’s Les Pecheurs de Perles and Puccini’s Turandot and Madama Butterfly.
Scofield believes that Hong Kong’s audience for opera has now become sophisticated enough to be receptive to more challenging and less familiar works.
“Two years ago the Arts Festival brought in Philip Glass’ Einstein on the Beach. Talk about tangential – it’s way-out minimalism,” says Scofield. “But how could you do Einstein on the Beach unless the audience was developing? They are. The audience here is getting a lot more sophisticated, adventurous, aware.”
Fama was established in 2009 to promote Western vocal classical music, and opera in particular, around the region. Its initiatives have included a movable auditorium called the “Pop Up Opera” and programmes of talks and lectures in schools and universities.
“We built a luxury cinema inside a tent, which has travelled all around Hong Kong showing music programmes in low-income districts. That has been very gratifying, because it has given some of the people who’ve gone into that tent their first experience of Western classical music,” says Scofield.
Partly, perhaps, because of FAMA’s initiatives in universities and schools and campaigns on social media, Scofield says that, in Hong Kong, opera is appealing to a younger demographic than is typical internationally.
Among the music education initiatives Fama supports is an Opera Club at the Hong Kong International School, and The Met: Live in HD Student Programme, which shows productions on the campuses of the University of Hong Kong, Baptist University, City University and the Hong Kong Academy for Performing Arts.
“It has been very popular on the university campuses. People are looking for new cultural experiences and they don’t have preconceived ideas. In the UK, the US or Europe people have fixed ideas about opera. In Asia it’s very different. There’s more openness. A lot of people enjoy it and the audience is growing,” says Scofield.
Although Scofield concedes that watching a high-quality video production cannot replace the experience of attending a genuinely great live performance, he believes it can engage the interest of an audience more fully than a less than great one.
For reasons of costs and logistics, he argues, live opera in Hong Kong often falls short of the highest standards, but in The Met: Live in HD screenings, the all-important synthesis of music and drama which is the essence of opera is reliably achieved.
The programme, for which tickets cost a maximum of HK$210 per screening as opposed to the several hundred US dollars good seats cost in New York, makes getting an education in the art form affordable.
Although The Met: Live in HD tends to present fairly well known operas – this season’s productions include Wagner’s Tristan und Isolde, Verdi’s Nabucco and La Traviata, Tchaikovsky’s Eugene Onegin and Dvorak’s Rusalka – there is also a modern work.
Finnish composer Kaija Saariaho’s 2000 opera L’Amour De Loin will feature Eric Owens, Susanna Phillips and Tamara Mumford in the principal roles. It will be screened on Sunday, March 26 at 4pm at AMC Pacific Place and on Sunday, May 21 at 5.30pm at Bethanie.
“Peter Gelb, the general manager, when he came to the Met 11 years ago decided that he was going to bring in some contemporary opera,” says Scofield. “It’s taken him 11 years, but it has now arrived and it’s a very beautiful work.”