23 February 2019 (SAT) 3:00pm, Emperor Cinemas
3 March 2019 (SUN) 3:20pm, AMC Pacific Place
2018年3月3日（星期日）下午3時20分，AMC Pacific Place
6 April 2019 (SAT) 5:00pm, Bethanie Theatre
4 May 2019 (SAT) 5:00pm, Bethanie Theatre
25 June 2019 (TUE) 7:00pm, JC Cube Tai Kwun
In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Tenor Aleksandrs Antonenko sings as Radamès, and Nicola Luisotti take the podium for the Met’s monumental production.
4 August 2019 (SUN)
2:30 pm, Asia Society
2019年8月4日(星期日) 下午2時30分, 亞洲文化協會
17 September 2019 (TUE)
7:00 pm, JC Cube Tai Kwun
2019年9月17日(星期二) 下午7時正, 大館賽馬會立方
Soprano Eva-Maria Westbroek sings Puccini’s gun-slinging heroine in this romantic epic of the Wild West, with the heralded return of tenor Jonas Kaufmann in the role of the outlaw she loves. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.
28 July 2019 (SUN) 3:00 pm, Asia Society
2019年7月28日(星期日) 下午3時正, 亞洲文化協會
Composer Nico Muhly unveils his second new opera for the Met with this gripping reimagining of Winston Graham’s novel, set in the 1950s, about a beautiful, mysterious young woman who assumes multiple identities. Director Michael Mayer and his creative team have devised a fast-moving, cinematic world for this exhilarating story of denial and deceit, which also inspired a film by Alfred Hitchcock. Mezzo-soprano Isabel Leonard sings the enigmatic Marnie, and baritone Christopher Maltman is the man who pursues her—with disastrous results. Robert Spano conducts.
7 September 2019 (SAT) 5:30pm,
5 October 2019 (SAT) 5:30pm,
Yannick Nézet-Séguin conducts Michael Mayer’s richly textured new production, featuring a dazzling 18th-century setting that changes with the seasons. Soprano Diana Damrau plays the tragic heroine, Violetta, and tenor Juan Diego Flórez returns to the Met for the first time in five seasons to sing the role of Alfredo, Violetta’s hapless lover. Baritone Quinn Kelsey is Alfredo’s father, Germont, who destroys their love.
13 July 2019 (SAT) 5:00pm, Bethanie Theatre
2019年7月13日(星期六) 下午5時正, 伯大尼
24 August 2019 (SAT) 3:20pm, AMC Pacific Place
2019年8月24日(星期六) 下午3時20分, AMC Pacific Place
Soprano Anna Netrebko joins the ranks of Renata Tebaldi, Montserrat Caballé, and Renata Scotto, taking on—for the first time at the Met—the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion. The soprano is joined by tenor Piotr Beczała as Adriana's lover, Maurizio. The principal cast also features mezzo-soprano Anita Rachvelishvili and baritone Ambrogio Maestri. Gianandrea Noseda conducts. Sir David McVicar's staging, which sets the action in a working replica of a Baroque theater, premiered at the Royal Opera House in London, where the Guardian praised the "elegant production, sumptuously designed ... The spectacle guarantees a good night out."
11 August 2019 (SUN) 2:30pm, Asia Society
21 September 2019 (SAT) 5:30pm, Bethanie Theatre
2 November 2019 (SAT) 5:30pm, Bethanie Theatre
26 November 2019 (TUE) 7:00pm, JC Cube Tai Kwun
Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera’s ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts for Sir Richard Eyre’s powerful production, a Met favorite since its 2009 premiere.
14 September 2019 (SAT) 4:20 pm, AMC Pacific Place
2019年9月14日(星期六) 下午4時20分, AMC Pacific Place
19 October 2019 (SAT) 6:00pm, Bethanie Theatre
10 December 2019 (TUE) 7:00pm, JC Cube Tai Kwun
Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high Cs. Maurizio Muraro is the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.
In what is expected to be a Wagnerian event for the ages, soprano Christine Goerke plays Brünnhilde, Wotan’s willful warrior daughter, who loses her immortality in opera’s most famous act of filial defiance. Tenor Stuart Skelton and soprano Eva-Maria Westbroek play the incestuous twins Siegmund and Sieglinde. Greer Grimsley sings Wotan. Philippe Jordan conducts.
28 September 2019 (SAT) 3:20pm, AMC Pacific Place
2019年9月28日(星期六) 下午3時20分, AMC Pacific Place
7 December 2019 (SAT) 5:30pm, Bethanie Theatre
2019年12月7日(星期六) 下午5時30分, 伯大尼
Yannick Nézet-Séguin leads the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom. Mezzo-soprano Isabel Leonard sings the touching role of Blanche and soprano Karita Mattila, a legend in her own time, returns to the Met as the Prioress.
13 April 2019 (SAT) 5:00 pm, Bethanie Theatre
8 June 2019 (SAT) 5:00 pm, Bethanie Theatre
When mezzo-soprano Elīna Garanča and tenor Roberto Alagna joined forces for a new production of Carmen at the Met, the results were electrifying. Now this star duo reunites for another sensual French opera when they open the season in the title roles of Saint-Saëns’s biblical epic Samson et Dalila. Darko Tresnjak, who won a Tony Award for Best Direction of a Musical in 2014 for A Gentleman’s Guide to Love & Murder, makes his Met debut directing a vivid, seductive staging, featuring a monumental setting for the last-act Temple of Dagon, where the hero crushes his Philistine enemies. Sir Mark Elder conducts the first new Met production of the work in 20 years.
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.”