The Met: Live in HD supported financially by the Foundation for the Arts and Music in Asia, a Hong Kong-registered charity.

 

 

 

 

   

 

 








 

 

 

 



Met Opera: Live in HD 2017-18 Season

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2017–18 Season Preview

 

 


Bellini's Norma

貝里尼《諾爾瑪》

20 January 2018 (SAT) 3:35 pm, AMC Pacific Place
2018年1月20日(星期六)下午3時35分, AMC Pacific Place

 


“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.

當桑德拉·雷瓦諾夫斯基在2013年以諾爾瑪完成她的大都會歌劇院角色初次登台時,赫芬頓郵報說「龐賽兒、米蘭路夫、蘇德蘭、卡拉斯 … 昨夜之後,雷瓦諾夫斯基可以與他們齊名」。2017–18季以貝里尼的傑作開場,全新製作,由雷瓦諾夫斯基飾演德魯伊的女祭司長,喬伊斯·迪多納托擔任她的對手阿達爾吉莎—喜愛傳統美聲唱法的人一定不能錯過。男高音約瑟夫.卡列加飾演波霖內,諾爾瑪不忠的愛人,並由卡洛·瑞茲指揮。大衛·麥克維卡爵士逼真的製作,讓這齣戲在充滿自然和古老儀式氛圍的德魯伊森林深處上演。
 

  

 




Verdi's Il Trovatore

威爾第《遊吟詩人》

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 Grand@Elements

 


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.

為了懷念剛逝世的季米特里.霍洛斯托夫斯基,大都會歌劇院安排一場特別安哥,將他最後一次在大都會歌劇院舞台上的演出的《吟遊詩人》再次搬上銀幕。女高音安娜.尼特立哥化身莉奧諾拉,繼續她在充滿戲劇性的威爾第劇目的旅程。這次她飾演為了與一名吉卜賽遊吟詩人的愛情而犧牲自己的莉奧諾拉。男高音李勇勳將飾演命途堪坷的曼里歌,男中音季米特里.霍洛斯托夫斯基會飾演他的對手,而女中音朵蘿拉•紮吉克則飾演神秘的吉卜賽人。演出將由馬可‧阿米利亞托指揮。

  

 




Adès's The Exterminating Angel

阿德斯《泯滅天使》

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 Pacific Place
2018年4月8日(星期日)下午4時10分, AMC Pacific Place

 

20 May 2018 (SUN) 4:10pm, MOViE MOViE Cityplaza
2018年5月20日(星期日)下午4時10分, MOViE MOViE Cityplaza


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.

繼他上一齣歌劇暴風雨獲得排山倒海的好評,大都會歌劇院獻上托馬斯·阿德斯泯滅天使的美國首演,這齣戲的靈感來自路易斯·布紐爾的同名經典電影。在2016年薩爾茲堡音樂節首演時獲得紐約時報「創新又大膽 … 是件大事」的好評,泯滅天使是關於一場晚宴中賓客無法離開的超現實主義幻想。撰寫劇本的湯姆·凱恩斯指導此次全新製作,由阿德斯本人指揮他這齣充滿冒險性質的新歌劇。

 




Puccini's Tosca

普契尼《托絲卡》

7 April 2018 (SAT) 2:20pm, UA Cine Times
2018年 4月7日(星期六)下午2時20分, UA Cine Times

 

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

 

19 May 2018 (SAT) 3:35pm, AMC Pacific Place
2018年 5月19日(星期六)下午3時35分, AMC Pacific Place

 

23 June 2018 (SAT) 3:35pm, MOViE MOViE Cityplaza
2018年6月23日(星期六)下午3時35分, MOViE MOViE Cityplaza

 


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.

大衛·麥克維卡爵士的全新醉人製作,以華麗背景襯托兩位一流女高音共同領銜主演嫉妒的女主角:頌雅·詠切娃和安娜·尼特立哥。維多里歐·格里戈洛和馬切羅·阿瓦雷茲輪流擔任托絲卡充滿革命精神的愛人卡瓦拉多西,而布萊恩·特菲爾爵士、麥可·福勒和澤里科·盧西奇飾演邪惡的警察局長史卡畢亞。指揮家伊曼紐爾‧維堯姆指揮。

  





Donizetti's L'Elisir d'Amore

董尼采第《愛情靈藥》

27 May 2018 (SUN) 7:50 pm, The Grand@Elements
2018年 5月27日(星期日)下午7時50分, The Grand@Elements

 


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.

普萊蒂·顏妲初次在大都會歌劇院飾演這個角色,她的第一個阿蒂娜對手是馬修·波連札尼,2013年以聶莫里諾的「一顆偷偷落下的眼淚」讓大都會歌劇院觀眾如癡如醉。巴列特·席爾的製作令人著迷,巧妙掌握喜劇節奏,同時卻又動人心弦。多明哥·韓朵引指揮。

  

 


 


Puccini's La Bohème

普契尼《波希米亞人》

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

 


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.

全世界最受歡迎的歌劇以法蘭高·齊費里尼的經典製作,伴隨精彩的卡司陣容再度回歸。安潔兒·布魯、安尼塔·哈蒂格和頌雅·詠切娃共同飾演病弱的咪咪,而德米特羅·波波夫、羅素·湯瑪斯和邁克爾·法比亞諾輪流出任詩人魯道夫的角色。亞歷山大·索迪和馬可·阿米里亞托共同負責指揮。

  





Rossini's Semiramide

羅西尼《賽米拉密德》

 

TBC

 

TBC


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.

這齣有著絢麗聲線架構的傑作很少在大都會歌劇院登場—首演已經將近25年—由毛里齊奧·貝尼尼指揮樂團。所有演員皆是傳統美聲唱法明星,由安吉拉·米德領銜主演殘忍的巴比倫女王,與由伊麗莎白·德尚反串的阿爾沙克展現令人屏息的二重唱。哈維爾·卡馬雷納、艾爾連爾·阿布德拉扎克夫和萊恩·史琵度·葛林共同主演。


  





Mozart's COSÌ FAN TUTTE

莫札特《女人皆如此》

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

 


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.

莫札特這齣與性有關的喜劇在費利姆·麥克德莫特的視角下以絕妙卡司重現,設定在以1950年代康尼島為靈感來源的嘉年華式歡欣場景—加上有鬍子的女人、吞火人和摩天輪。演員包括飾演阿方索先生的克里斯多佛·麥爾特曼,而由東尼獎得主凱利·奧哈拉飾演黛絲賓娜,還有亞曼達·瑪潔斯琪、瑟蓮娜·馬爾菲、班·布利斯、和亞當·普萊西塔飾演想要測試對方忠誠的年輕愛侶。大衛·羅伯森指揮。

  

 


 


Verdi's Luisa Miller

威爾第《路易莎‧米勒》

25 August 2018 (SAT) 3:20 pm, AMC Pacific Place
2018年8月25日(星期六)下午3時20分, AMC Pacific Place

 

9 September 2018 (SUN) 3:20 pm, MOViE MOViE Cityplaza
2018年9月9日(星期日)下午3時20分, MOViE MOViE Cityplaza

 

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

 


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.

普拉西多·多明哥傾情詮釋揪心的父愛悲劇,為他傳奇的歌唱生涯再添精彩一頁。頌雅·詠切娃擔任女主角,對手的皮奧特·貝札拉在大都會歌劇院表演這齣歌劇已有超過十年的時間。貝特朗·德·比利指揮。

  

 





Massenet's Cendrillon

馬斯奈《灰姑娘》

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 Pacific Place
2018年9月29日(星期六)下午3時50分, AMC Pacific Place

 

27 October 2018 (SAT) 3:50 pm, MOViE MOViE Cityplaza
2018年10月27日(星期六)下午3時50分, MOViE MOViE Cityplaza

 

25 November 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


“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.

喬伊斯·迪多納托於2011年在皇家歌劇院主演仙杜瑞拉時,紐約時報的評價是「燦爛奪目」。「她的演出完全讓人著迷。」現在,史上第一次,馬斯奈把灰姑娘的故事豪華般上大都會歌劇院舞台,由迪多納托領銜主演。次女高音愛麗絲·庫特反串白馬王子,凱斯琳·基姆扮演仙子教母,還有斯蒂芬妮·布萊斯飾演跋扈的哈提爾夫人。由貝特朗·德·比利指揮勞倫特·佩利充滿幻想力的故事書製作。

  



 


South China Morning Post
Ninth Hong Kong cinema to screen opera broadcasts from New York Met as audience reaches ‘critical mass’


City’s appetite for Western opera has evolved enormously, says head of the foundation behind screenings from Met, and the audience is younger than in many other places

PUBLISHED : Tuesday, 14 March, 2017, 5:00pm
UPDATED : Wednesday, 15 March, 2017, 5:59pm

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.”

For more information on The Met: live in HD in 2016,
g
o to : www.themetinhongkong.info

This article appeared in the South China Morning Post print edition as:
Miller Theatre on song for opera telecasts

 

 

Review: Opera Matters, and the Met Just Threw a Party to Prove It

By ANTHONY TOMMASINI