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 2016-17 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
25 March 2017 (SAT) 2:20pm, UA Cine Times
2017年 3月25日(星期六)下午2時20分, UA Cine Times
2 April 2017 (SUN) 5:30pm, Bethanie
2017年 4月2日(星期日)下午5時30分, 伯大尼
9 April 2017 (SUN) 4:00pm, AMC Pacific Place
2017年 4月9日(星期日)下午4時00分, AMC Pacific Place
30 April 2017 (SUN) 7:50pm, The Grand@Elements
2017年4月30日(星期日)下午7時50分, The Grand@Elements
10 June 2017 (SAT) 6:00 pm, Bethanie
The legendary Plácido Domingo brings another new baritone role to the Met under the baton of his longtime collaborator James Levine. Liudmyla Monastyrska is Abigaille, the warrior woman determined to rule empires, and Jamie Barton is the heroic Fenena. Dmitri Belosselskiy is the stentorian voice of the oppressed Hebrew people.
23 April 2017 (SUN) 3:00 pm, UA Cine Times
2017年4月23日(星期日)下午3時00分, UA Cine Times
14 May 2017 (SUN) 3:40 pm, AMC Pacific Place
2017年 5月14日(星期日)下午3時40分, AMC Pacific Place
20 May 2017 (SAT) 6:00 pm, Bethanie
28 May 2017 (SUN) 7:50 pm, The Grand@Elements
2017年 5月28日(星期日)下午7時50分, The Grand@Elements
When Diana Damrau and Vittorio Grigolo starred opposite each other in Manon at the Met in 2015, the New York Times said, “the temperature rises nearly to boiling every time Damrau and Grigolo are on stage together.” Now they’re back as opera’s classic lovers, in Gounod’s lush Shakespeare adaptation. The production, by director Bartlett Sher, has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Gianandrea Noseda conducts the sumptuous score.
27 May 2017 (SAT) 3:10 pm, UA Cine Times
2017年 5月27日(星期六)下午3時10分, UA Cine Times
11 June 2017 (SUN) 5:00 pm, Bethanie
2017年 6月11日(星期日)下午5時00分, 伯大尼
18 June 2017 (SUN) 7:50 pm, The Grand@Elements
2017年 6月18日(星期日)下午7時50分, The Grand@Elements
8 July 2017 (SAT) 5:30 pm, Bethanie
2017年 7月8日(星期六)下午5時30分, 伯大尼
Kristine Opolais stars in the role that helped launch her international career, the mythical Rusalka, who sings the haunting “Song to the Moon.” Mary Zimmerman brings her wondrous theatrical imagination to Dvořák’s fairytale of love and longing, rejection and redemption. Brandon Jovanovich, Jamie Barton, Katarina Dalayman, and Eric Owens complete the all-star cast, and Mark Elder conducts.
25 June 2017 (SUN) 2:30 pm, UA Cine Times
2017年6月25日(星期日)下午2時30分, UA Cine Times
9 July 2017 (SUN) 5:30 pm, Bethanie
13 August 2017 (SUN) 7:50pm, The Grand@Elements
2017年8月13日(星期日)下午7時50分, The Grand@Elements
17 September 2017 (SUN) 4:00pm, AMC Pacific Place
2017年9月17日(星期日)下午4時00分, AMC Pacific Place
Sonya Yoncheva sings one of opera’s most beloved heroines, the tragic courtesan Violetta, a role in which she triumphed on the Met stage in 2015, opposite Michael Fabiano as her lover, Alfredo, and Thomas Hampson as his father, Germont. Nicola Luisotti conducts.
23 July 2017 (SUN)
3:10 pm, UA Cine Times
2017年7月23日(星期日)下午3時10分, UA Cine Times
10 September 2017 (SUN) 5:00 pm, Bethanie
24 September 2017 (SUN) 7:00 pm, The Grand@Elements
2017年9月24日(星期日)下午7時00分, The Grand@Elements
Mozart’s first operatic masterpiece returns to the Met in the classic Jean-Pierre Ponnelle production, conducted by Music Director James Levine. The superb ensemble includes Matthew Polenzani as the king torn by a rash vow, mezzo-soprano Alice Coote in the trouser role of his noble son Idamante, soprano Nadine Sierra as Ilia, and soprano Elza van den Heever as the volatile Elettra, who loves Idamante to the bounds of madness.
19 August 2017 (SAT) 2:50 pm, UA Cine Times
2017年8月19日(星期六)下午2時50分, UA Cine Times
7 October 2017 (SAT) 5:30 pm, Bethanie
12 November 2017 (SUN) 5:30 pm, Bethanie
Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko and Peter Mattei
as Tatiana and Onegin. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.
8 October 2017 (SUN) 5:00 pm, Bethanie
22 October 2017 (SUN) 7:00 pm, The Grand@Elements
11 November 2017 (SAT) 5:00 pm, Bethanie
The dream cast of Renée Fleming as the Marschallin and Elīna Garanča as Octavian star in Strauss’s grandest opera. In his new production, Robert Carsen, the director behind the Met’s recent Falstaff, places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask, in a staging that also stars Günther Groissböck as Baron Ochs. Sebastian Weigle conducts the sparklingly perfect score.
19 February 2017 (SUN) 6:30pm, The Grand@Elements
2017年 2月19日(星期日)下午6時30分, The Grand@Elements
11 March 2017 (SAT) 5:00pm, Bethanie
Tristan und Isolde opens the Met season in a new production by Mariusz Treliński (the director responsible for last season’s double bill of Iolanta and Bluebeard’s Castle), and will be well served by a cast of outstanding Wagnerians: Nina Stemme as Isolde, Stuart Skelton as Tristan, Ekaterina Gubanova as Brangäne, and René Pape as King Marke. Simon Rattle conducts in one of his rare appearance at the Met.
15 January 2017 (SUN) 3:20pm, AMC Pacific Place
2017年 1月15日(星期日)下午3時20分, AMC Pacific Place
5 March 2017 (SUN) 7:50pm, The Grand@Elements
2017年 3月5日(星期日)下午7時50分, The Grand@Elements
12 March 2017 (SUN) 5:30pm, Bethanie
2017年 3月12日(星期日)下午5時30分, 伯大尼
1 April 2017 (SAT) 6:00pm, Bethanie
Charismatic singer Simon Keenlyside sings the role of the title hero, who goes to hell in a dazzling coup de théâtre. The ensemble of great Mozartean singers includes Hibla Gerzmava, Malin Byström, Serena Malfi and Adam Plachetka.
Fabio Luisi conducts.
26 March 2017 (SUN) 4:00 pm, AMC Pacific Place
2017年 3月26日(星期日)下午4時00分, AMC Pacific Place
21 May 2017 (SUN) 5:30 pm, Bethanie
2017年 5月21日(星期日)下午5時30分, 伯大尼
Finnish composer Kaija Saariaho’s breakthrough opera was described by the New York Times as “transfixing…a lushly beautiful score.” Commissioned by the Salzburg Festival, where it was first seen in 2000, it will now finally have its Metropolitan Opera premiere in a dazzling new production by Robert Lepage, featuring glimmering ribbons of LED lights that extend across the length of the stage and over the orchestra pit. Eric Owens is the knight on a quest of love and Susanna Phillips is his lover on the other side of the sea. Conductor Susanna Mälkki makes her Met debut.
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.”