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Met Opera: Live in HD 2018-19 Season

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2018–19 Season Preview

 

 


Verdi's Aida

威爾第 《阿依達》

5 January 2019 (SAT) 3:00 pm, Emperor Cinemas (Entertainment Building, Central)
2019年 1月5日(星期六) 下午3時正, 英皇戲院(中環娛樂行)

 

23 February 2019 (SAT) 3:00pm, Emperor Cinemas
2019年2月23日(星期六)下午3時正,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
2019年4月6日(星期六)下午5時正,伯大尼

4 May 2019 (SAT) 5:00pm, Bethanie Theatre
2019年5月4日(星期六)下午5時正,伯大尼


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.

本季最令人期待的莫過於女高音安娜•涅特列布科 (Anna Netrebko) 將首次在大都會歌劇院飾演阿依達,並與演譯埃及公主安涅莉絲的女中音安妮塔拉謝維莉許薇莉 (Anita Rachvelishvili) 同台演出。此外本劇埃及軍官拉達美斯一角將由男高音亞歷山大安東奈科 (Aleksandrs Antonenko) 擔綱演出。這齣大都會歌劇院的代表作將由尼可拉路易梭提 (Nicola Luisotti) 指揮。

  

 


 


Saint-Saëns's Samson et Dalila

聖桑 《參孫和大利拉》

13 April 2019 (SAT) 5:00 pm, Bethanie Theatre
2019年4月13日(星期六)下午5時正, 伯大尼

 

8 June 2019 (SAT) 5:00 pm, Bethanie Theatre
2019年6月8日(星期六)下午5時正, 伯大尼

 


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.

女中音艾麗娜葛蘭莎 (Elīna Garanča) 與男高音羅伯托阿藍尼亞 (Roberto Alagna) 曾在大都會歌劇院同台演出新《卡門》時,激盪出令人驚艷的火花,現在,這兩位巨星將於另一齣法國歌劇經典中再度攜手合作,扮演聖桑之聖經史詩劇《參孫和大利拉》中的兩位主角,開啟新一季的歌劇饗宴。曾以《愛與謀殺的紳士指南》榮獲2014東尼獎最佳音樂劇導演的達科特雷什尼亞克 (Darko Tresnjak) ,將在大都會歌劇院獻出其處女秀,以生動吸睛的舞台張力與前所未見的場景布置,詮釋最後一幕主角在大袞神殿殺死非利士敵人的精彩時刻。這一部大都會歌劇暌違二十年後再次粉墨登場的作品將由馬克埃爾德男爵 (Sir Mark Elder) 擔任指揮。

  

 



 


Puccini's La Fanciulla del West

普契尼 《西部女郎》

18 May 2019 (SAT) 5:00 pm, Bethanie Theatre
2019年5月18日(星期六) 下午5時正, 伯大尼

 


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.

女高音伊娃瑪麗亞韋斯特布魯克 (Eva-Maria Westbroek) 在這部浪漫的荒野西部史詩中,飾演普契尼筆下在槍林彈雨中生活的女英雌,男高音約納斯考夫曼 (Jonas Kaufmann)在萬眾期待下重回舞台演繹女主角愛上的歹徒,而治安警長傑克朗斯則由男中音澤利科盧西奇 (Željko Lučić) 擔綱演出。本劇由馬可阿爾米力亞多 (Marco Armiliato) 指揮。

  

 



 


Muhly's Marnie

穆利《豔賊》

20 April 2019 (SAT) 4:20 pm, AMC Pacific Place
2019年4月20日(星期六) 下午4時20分, AMC Pacific Place

 

01 June 2019 (SAT) 6:00 pm, Bethanie Theatre
2019年6月1日(星期六) 下午6時正, 伯大尼

 


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.

作曲家尼可穆利為大都會歌劇團帶來他的第二部新作,以溫斯頓格雷厄姆 小說為藍圖扣人心弦的新劇,時間回到五零年代,訴說一位年輕美麗的女人與其神秘且擁有多重身份的故事。導演麥爾克麥爾 (Michael Mayer) 與其創作團隊以明快的節奏與極富戲劇張力的手法,將希區考克電影特有的氛圍帶入這一部闡述拒絕和欺騙的故事中。女中音伊莎貝爾倫納德 (Isabel Leonard) 將飾演充滿魅力的女主角瑪琳,而男中音克里斯托弗馬爾特曼 (Christopher Maltman) 則扮演敗倒在其石榴裙下的男主角。此劇由羅伯特斯帕諾 (Robert Spano)指揮。

  

 


 


Verdi's La Traviata

威爾第 《茶花女》

11 May 2019 (SAT) 3:00 pm, Emperor Cinemas (Entertainment Building, Central)
2019年5月11日(星期六) 下午3時正, 英皇戲院(中環娛樂行)

 

7 September 2019 (SAT) 5:30pm, Bethanie Theatre
2019年9月7日(星期六)下午5時30分,伯大尼

5 October 2019 (SAT) 5:30pm, Bethanie Theatre
2019年10月5日(星期六)下午5時30分,伯大尼


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.

麥爾克麥爾 (Michael Mayer) 的新作,將由雅尼克涅採西格英 (Yannick Nézet-Séguin) 指揮,藉由四季的更迭展現十八世紀令人迷炫的繁華場景。女高音戴安娜丹姆勞 (Diana Damrau) 將擔綱演出悲劇女主角薇奧莉,男高音 (Juan Diego Flórez) 暌違了五季之後再度回歸大都會歌劇團演出不幸的男主角阿弗雷多。男中音昆恩契爾斯 (Quinn Kelsey) 演出從中破壞的父親傑爾蒙一角。
 

  

 


 


Cilea's Adriana Lecouvreur

齊利亞 《阿德莉亞娜.雷古弗勒》

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."

女高音安娜涅特列布科 (Anna Netrebko) 加入雷納塔提芭蒂、 蒙特塞拉特卡瓦萊和雷納塔史科朵的行列中,首度於大都會歌劇演出於台前台後以熱情與風采將觀眾迷得神魂顛倒的十八世紀法國女演員阿德莉亞娜雷古弗勒一角。男高音皮奧特貝札拉 (Piotr Beczała) 飾演阿德莉亞娜的愛人莫瑞吉奧 (Maurizio),並有女中音安妮塔拉謝維莉許薇莉 (Anita Rachvelishvili) 和男中音安布羅焦麥斯翠 (Ambrogio Maestri) 共同演出。此劇由賈南德雷亞諾賽德 (Gianandrea Noseda) 指揮。大衛麥克維卡爵士 (Sir David McVicar)負責場景設計,重現巴洛克時期的舞台樣貌。在倫敦皇家歌劇院首演時,《衛報》曾給予該劇極高的評價:「優異的劇作,奢華的場景...絕對是一晚無與倫比的歌劇饗宴。」

 

 


 


Bizet's Carmen

比才 《卡門》

6 July 2019 (SAT) 3:00pm, Emperor Cinemas (Entertainment Building, Central)
2019年7月6日(星期六)下午3時正,英皇戲院(中環娛樂行)

21 September 2019 (SAT) 5:30pm, Bethanie Theatre
2019年9月21日(星期六)下午5時30分,伯大尼

2 November 2019 (SAT) 5:30pm, Bethanie Theatre
2019年11月2日(星期六)下午5時30分,伯大尼


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.

女中音克萊門婷馬蓋恩 (Clémentine Margaine) 在2017首演卡門即獲極高的肯定。這次她將再演歌劇界中的終極誘惑者,搭配慷慨激昂的男高音羅伯托阿拉格納 (Roberto Alagna) 飾演愛人唐荷西。此劇為理查德艾爾爵士 (Sir Richard Eyre) 隆重巨獻,由路易斯朗格 (Louis Langrée) 指揮,自2009年首映以來一直是大都會歌舞團最受歡迎的劇作。

  

 


 


Donizetti's La Fille du Régiment

董尼采第 《聯隊之花》

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
2019年10月19日(星期六)下午6時正,伯大尼


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.

男高音哈維爾·卡馬雷納 (Javier Camarena) 和女高音普雷提延德 (Pretty Yende) 合作,呈現出一場美聲唱法的精彩演出,包含絕不能錯過,多達9個高音C的男高音詠嘆調《啊! 朋友們,這是慶典的日子》。毛里齊奧穆拉羅 (Maurizio Muraro) 是逗趣的中士蘇爾皮斯,女中音斯蒂芬妮布萊斯 (Stephanie Blythe) 飾演伯克菲爾德古怪的侯爵夫人。此劇由恩里克馬佐拉 (Enrique Mazzola) 擔綱指揮。

  

 


 


Wagner's Die Walküre

華格納 《女武神》

9 November 2019 (SAT) 5:00 pm, Bethanie Theatre
2019年 11月9日 (星期六)下午5時正, 伯大尼

 


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.

萬眾期待的一場華格納盛宴,將由女高音克莉斯汀哥爾克 (Christine Goerke) 演繹沃坦的女兒布倫希爾德,在失去女武神資格的一幕可謂歌劇中違抗至親的著名經典。男高音斯圖亞特斯克爾頓 (Stuart Skelton) 和女高音艾娃瑪麗亞魏絲珀克 (Eva-Maria Westbroek) 則演出亂倫雙胞胎齊格蒙德和齊格林德。沃坦由格里爾格里斯利 (Greer Grimsley) 演唱,該劇由菲利浦約丹 (Philippe Jordan) 指揮。

  

 

 


 


Poulenc's Dialogues des Carmélites

普朗克 《聖衣會修女對話錄》

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.

由雅尼克涅採西格英 (Yannick Nézet-Séguin) 指揮經典的約翰多斯特 (John Dexter) 製作的普朗克這部與信仰和殉教有關的虐心故事。女中音伊莎貝爾倫納德 (Isabel Leonard) 負責演繹動人的主角布蘭琪,而傳奇歌劇名伶卡麗塔馬蒂拉 (Karita Mattila) 則再度回到大都會歌劇舞台詮釋女修院院長一角。

  

 




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