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The opera, a compelling dramatization of the tragic final days of Anne Boleyn—whose husband Henry VIII spurns her and has her sentenced to death—is directed by David McVicar and conducted by Marco Armiliato. The cast includes Russian mezzo-soprano Ekaterina Gubanova as Anna’s romantic rival, Giovanna (Jane Seymour); Russian bass Ildar Abdrazakov as the cruel Enrico (Henry VIII); American tenor Stephen Costello as Anna’s first love, Lord Percy; and American mezzo-soprano Tamara Mumford as the queen’s devoted page Smeton.

Great Performances at the Met is a presentation of THIRTEEN for WNET, one of America’s most prolific and respected public media providers. For more than 50 years, WNET has been producing and broadcasting national and local arts programming to the New York community.

The telecast was originally seen live in movie theaters on October 15 as part of the groundbreaking series, The Met: Live in HD, which transmits live performances to more than 1600 movie theaters and performing arts centers in 54 countries around the world.

Generally considered one of Donizetti’s finest operas, Anna Bolena is the first in a trilogy of works based on the lives of Tudor-era queens that David McVicar will direct at the Met over the next few seasons (the other two are Maria Stuarda and Roberto Devereux). McVicar, whose production of Il Trovatore aired on Great Performances at the Met in August, has created a historically detailed setting for the opera, which re-emerged as a musical and dramatic showpiece for extraordinary sopranos when Maria Callas starred in a famous 1957 La Scala revival of the work.

“Donizetti takes the bel canto form and explores every possible dramatic opportunity within it,” McVicar says. “The lynchpin of the story is Anna Bolena’s inability to provide Henry VIII with the male heir that he craves. And, of course, to be a wife of Henry VIII is to risk as much as you gain.”

She made her Met debut in 2002 as Natasha in Prokofiev’s War and Peace. Since then, Netrebko has sung nine additional roles with the company, including Donizetti’s Norina in Don Pasquale and Lucia in Lucia di Lammermoor. This spring, she will return to the Met as the hedonistic heroine of Massenet’s Manon in her second new production of the season, also to be broadcast on Great Performances at the Met.

Gubanova made her Met debut in a 2007 revival of War and Peace and starred as Giulietta opposite Netrebko’s Antonia in Bartlett Sher’s 2009 new production premiere of Offenbach’s Les Contes d’Hoffmann. At the Met, Abdrazakov has starred in the title role in the company premiere of Verdi’s Attila, as Méphistophélès in both Gounod’s Faust and Berlioz’s La Damnation de Faust, and as Raimondo in Lucia di Lammermoor. Rising young tenor Costello made his Met debut as Arturo, Lucia’s doomed husband, in the new production of Lucia di Lammermoor that opened the 2007-08 season. He sang the role of Percy at the Dallas Opera in the 2010-11 season.

The design team for Anna Bolena includes two artists making their Met debuts. Scenic designer Robert Jones collaborated with McVicar on the acclaimed 2005 Glyndebourne production of Handel’s Giulio Cesare and has designed numerous plays and musicals, including the Broadway productions of Tom Stoppard’s Rock ‘n’ Roll and the 2002 revival of Noises Off. Olivier Award-winning costume designer Jenny Tiramani, a leading authority on historical costuming, has designed for numerous theater productions and spent eight years as Head of Design at Shakespeare’s Globe Theatre in London. Paule Constable, whose Met credits include the company premiere of Philip Glass’s Satyagraha and this season’s new production of Mozart’s Don Giovanni, is the lighting designer for Anna Bolena. Her numerous honors include a 2011 Tony Award for her work on Broadway’s War Horse.

This production of Anna Bolena was made possible by a generous gift from Mercedes and Sid R. Bass.

Renée Fleming, who will star in Handel’s Rodelinda later this year on Great Performances at the Met, hosts. Gary Halvorson directs the telecast.

Great Performances is funded by Vivian Milstein, the Philip and Janice Levin Foundation, and Annaliese Soros. Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home builder®.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

Great Performances at the Met is a presentation of THIRTEEN for WNET.ORG, one of America’s most prolific and respected public media providers.

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James Levine, in his first-ever performances of this opera, conducts a cast that also features Matthew Polenzani as the lovelorn Ernesto, Mariusz Kwiecien as the duplicitous Dr. Malatesta, and John Del Carlo as the title character. Renowned Austrian director Otto Schenk returns to the Met to direct the first revival of his production, which The New York Times praised as “wonderful” and “insightful” when it premiered in 2006.

Reviewing the production, the Times was unstinting in its praise for Netrebko, who “oozed seductive charm” as she “navigated bel canto hurdles in a performance that was both physically energetic and vocally rich.” Tenor Matthew Polenzani, who is making his Met role debut as Ernesto, is “one of the Met’s treasures” whose “polished performance puts him in the front ranks of a growing list of fine young tenors on the company roster” (Associated Press). Baritone Mariusz Kwiecien first played Dr. Malatesta at the Met in 2006 opposite Netrebko; the Times found him “mesmerizing in the role, his robust voice matched by his robust physique.” Bass-baritone John Del Carlo, whose many past performances at the Met include an acclaimed Dr. Bartolo in The Met: Live in HD broadcast of Il Barbiere di Siviglia, sings the title role.

Don Pasquale features sets and costumes by Rolf Langenfass and lighting design by Duane Schuler.
Great Performances at the Met: Don Pasquale is directed for television by Gary Halvorson and hosted by mezzo-soprano Susan Graham. Jay David Saks is the music producer. Great Performances at the Met: Don Pasquale is the first production airing during the 2011 season of Great Performances at the Met. The performance is sung in Italian with English surtitles.

Great Performances is funded by the National Endowment for the Arts, the Irene Diamond Fund, Vivian Milstein, public television viewers and PBS. Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home-builder®. Major funding for this telecast of Don Pasquale was provided by The Annenberg Foundation.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

Great Performances at the Met is a presentation of THIRTEEN in association with WNET.ORG – one of America’s most prolific and respected public media providers.

Sher, whose Great Performances at the Met debut production of Il Barbiere di Siviglia was an audience favorite, created the new staging for Offenbach’s final masterpiece, which he calls “a magical journey in which the title character works out different manifestations of his psyche…The opera is often approached in terms of the crazy imagination of Hoffmann,” Sher says, referring to the early German romantic polymath whose stories are used for the opera’s episodic plot. “I’m more interested in why Offenbach, who had been a very popular operetta composer, was seeking to write a serious work to gain acceptance. Why, so late in his career, did he feel this need to be accepted? That led me to consider Offenbach’s sense of being Jewish and an outsider. Whatever group he was in, he always appears as an outsider who never feels like he belongs, never feels like he’s connected.” The ambiguities and split identities of the characters figure in Sher’s vision of the piece.

Offenbach died before a definitive score for Les Contes d’Hoffmann was established, though he left many sketches of possible additions and replacements which have led to different performing versions over the years. This production uses the same version that was used in the Met’s most recent revival, in 1999-2000, with the Olympia act first, followed by the Antonia act, then Giulietta placed third. Maestro Levine says of the musical version, “The music is so inspired, and I think we have made effective choices in the absence of an authentic, fully realized original version.” Great Performances at the Met: Les Contes d’Hoffmann is the fifth of 10 productions airing this season during the 2009-2010 series. The performance is sung in French with English surtitles. Set designer Michael Yeargan and costume designer Catherine Zuber, both Tony Award-winners who worked with Sher on his acclaimed Great Performances at the Met production of Il Barbiere di Siviglia, are also on the production team for the new Les Contes d’Hoffmann. James F. Ingalls joins them as the lighting designer, and the choreography is by Dou Dou Huang.

Great Performances is funded by the Irene Diamond Fund, the National Endowment for the Arts, the Corporation for Public Broadcasting, public television viewers and PBS. Corporate support for Great Performances at the Met is provided by Toll Brothers, America’s luxury home-builder®. Major support for the telecast was also provided by the Annenberg Foundation.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

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A stellar review in Opera News raves: “It’s probably fair to say that this Bohème is one of the best filmic realizations of an opera since Francesco Rosi’s 1984 Carmen. Although the entire production was filmed within the confines of studio sound-stages, it is very much a movie, rather than an embalmed theater presentation. [The] camera sweeps the viewer right into the center of the action with decisive tracking shots and intimate close-ups; languid dissolves, superimpositions and subtle split-screen effects emphasize the sensuality of the plot, and of Puccini’s score.”

Discussing the differences between live performance and film, Netrebko remarks, “…the camera is very intimate. It’s coming really close to you. Your expressions…the eyes opening, the mouth, it’s reduced here to minimal. But instead of that, you have to put a lot inside your eyes, so you have the expression inside yourself.”

The theatrical film is helmed by director Robert Dornhelm, Oscar nominee for The Children of Theater Street and more recently Karajan, or Beauty as I See It, which aired on Great Performances in August 2009, offering a fascinating career retrospective of the great conductor Herbert von Karajan on the occasion of his 100th birthday.

Produced by Jan Mojto, Kurt J. Mrkwicka and Jeffrey D. Vanderveen, with Andreas Kamm and Oliver Auspitz as executive producers, La Bohème is a production of Unitel Classica and MR-Film Production, with the support of ORF Film-/Fernsehabkommen, Osterreichisches Filminstitut, and Filmfonds Wien, in association with IMG and Deutsche Grammophon in co-production with ZDF.

Great Performances is funded by the Irene Diamond Fund, the Anna- Maria and Stephen Kellen Arts Fund, Vivian Milstein, the Corporation for Public Broadcasting, public television viewers and PBS.

For Great Performances, John Walker is senior producer, Bill O’Donnell is series producer and David Horn is executive producer.

Soprano Netrebko, returning to the Met stage for the first time since giving birth to son Tiago in September, dazzles in the demanding title role, a young woman driven to madness by love and politics. Piotr Beczala co-stars as Lucia’s head-strong lover Edgardo. The telecast is conducted by Marco Armiliato and presented by THIRTEEN in 5.1 surround sound.

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“These enormously gifted and appealing artists won ardent ovations,” cheered The New York Times. “We are lucky to have them around.”

Eschewing the work’s traditional 1700s Scottish setting, the production – by Mary Zimmerman and which opened the Met last season – was hailed by AP as “handsomely traditional and imaginatively provocative.” Zimmerman – along with set designer Daniel Ostling, costume designer Mara Blumenfeld, lighting designer T. J. Gerckens, and choreographer Daniel Pelzig – stages the bel canto favorite as a Victorian ghost story

The piece, with its famous Mad Scene (and Sextet), has long served as a vehicle for beloved coloratura sopranos. Since its premiere in 1836, it has showcased such legendary interpreters as Maria Callas, Joan Sutherland, Beverly Sills, and, most recently Anna Netrebko and Natalie Dessay.

Also featuring baritone Mariusz Kwiecien as Lucia’s brother, Enrico, and Ildar Abdrazakov as Raimondo, Great Performances at the Met: Lucia di Lammermoor is the sixth of 11 productions airing this season on the series. It is sung in Italian with English surtitles; Salvatore Cammarano wrote the libretto. The production was transmitted onstage as part of The Met: Live in HD February 7, 2009, and recorded for this telecast. Gary Halvorson directs, with Natalie Dessay as host. Jay Saks is audio producer.

Great Performances at the Met is a production of THIRTEEN in association with WNET.ORG – one of America’s most prolific and respected public media providers.

Great Performances is funded by the Irene Diamond Fund, the National Endowment for the Arts, Vivian Milstein, the Corporation for Public Broadcasting, public television viewers, and PBS. Corporate support for Great Performances at the Met is provided by Toll Brothers.

For the Met, Mia Bongiovanni and Elena Park are Supervising Producers, and Louisa Briccetti and Victoria Warivonchik are Producers. Peter Gelb is Executive Producer. For Great Performances, Bill O’Donnell is Series Producer; David Horn is Executive Producer.

Photo: ORF/Ali Schafler

The intoxicating strains of Franz Lehar and other masters of the operetta and zarzuela stage dominate Domingo, Netrebko & Villazón: Three Stars in Vienna, an icon-studded concert gala from the Imperial Park of Vienna’s Schönbrunn Summer Palace, this December on GREAT PERFORMANCES on PBS (check local listings). Tenors Plácido Domingo and Rolando Villazón join soprano Anna Netrebko in the evening of highlights from such favorite works as The Merry Widow, Land of Smiles and El Gato Montes.

Presented by Thirteen/WNET New York in high definition, the broadcast is led by noted French conductor Bertrand de Billy, directing the Vienna Radio Symphony Orchestra.

From its opening vocal salvo, Domingo’s thrilling account of Lehar’s “Gern hab ich die Frau’n gekuesst” from Paganini, through Netrebko’s swirling Gypsy rendition of “Heia in den Bergen” (from Emmerich Kálmán’s Die Csárdásfürstin) to Villazón’s heart-breaking “Dein ist mein ganzes Herz” (Lehar’s Land of Smiles), the program is a welcome reminder of the glittering lost world of operetta.

The genre (first cousin to the zarzuela of Spain) is a precursor to today’s modern musical and once dominated the world’s stages, thanks to “light music” composers like Lehar, Johann Strauss Jr., and Léo Delibes. Domingo, Netrebko & Villazón: Three Stars in Vienna offers a rare opportunity to re-examine some of their gems. (A complete list of telecast selections accompanies this release.)

Recorded in the Austrian capital June 27, 2008, Domingo, Netrebko & Villazón: Three Stars in Vienna is a co-production of ORF, ZDF and Unitel Classica, in association with Thirteen/WNET New York. Heidelinde Haschek directs, with Heidelinde Rudy and Sandra Marchart as Producers.

GREAT PERFORMANCES is funded by the Irene Diamond Fund, the Corporation for Public Broadcasting, public television viewers, and PBS.

Ken Howard/Metropolitan Opera

Composer: Vincenzo Bellini

Librettist: Carlo Pepoli, after a play by François Ancelot and Xavier Boniface Saintine

Production: Sandro Sequi

Conductor: Patrick Summers

Performers: Anna Netrebko (Elvira Walton), Eric Cutler (Lord Arturo Talbot), Franco Vassallo (Sir Riccardo Forth), John Relyea (Sir Giorgio Walton), Maria Zifchak (Queen Enrichetta), Eduardo Valdes (Sir Bruno Robertson), and Valerian Ruminski (Lord Gualtiero Walton)

Synopsis:
The English civil war in the 1640s has divided the land between the supporters of Parliament under Oliver Cromwell (the Roundheads) and the Royalists who are faithful to the Stuart monarchy (the Cavaliers). King Charles I has been beheaded.

Act I
Scene 1: Plymouth, a Puritan stronghold, is threatened by siege from the Royalist troops. Distant voices herald the wedding day of Elvira, daughter of Gualtiero (Lord Walton), the fortress’ commander. Riccardo (Sir Richard Forth) enters lamenting that his promised bride, Elvira, loves another man — a Stuart partisan (”Ah, per sempre, io ti perdei”). Her father will not force her to marry against her will, it seems, so Riccardo’s friend Sir Bruno urges him to devote his life to leading the Parliamentary forces.

Scene 2: Elvira tells her uncle, Giorgio (Sir George Walton), that she would rather die than marry Riccardo (”Sai come arde”). Her uncle reassures her that he has persuaded her father to let her marry her lover, Arturo (Lord Arthur Talbot). Although Arturo is a Royalist, he is heralded as he approaches the castle (”A quel suono”).

Scene 3: Everyone gathers for the wedding celebration and Arturo greets his bride (”A te, o cara”). He learns that the widow of King Charles, Queen Enrichetta, is a prisoner in the castle and soon to be taken to trial in London. Alone with the queen, Arturo offers to save her even if it means his death. Elvira returns with the bridal veil (”Son vergin vezzosa”); she capriciously places the veil over Enrichetta’s head. When he is alone again with the queen, Arturo explains that the veil will provide the perfect disguise for escape from the castle. As they are about to leave, Riccardo stops them, determined to kill his rival. Enrichetta separates them and reveals her identity. Riccardo lets them flee, knowing this will ruin Arturo. The others return for the wedding, and Riccardo tells of Arturo’s escape with Enrichetta. Soldiers rush off in pursuit. Elvira, believing herself betrayed, is beset by madness.

Act II
The townsfolk mourn Elvira’s mental breakdown. Her uncle, Giorgio, explains that she still longs for Arturo. Riccardo arrives to announce that Arturo has been condemned to death by Parliament. The Puritans depart.

Elvira wanders in, reliving her happy past (”Qui la voce”). In her madness, she mistakes Riccardo for Arturo and dreams of her wedding (”Vien, diletto”). When she leaves, Giorgio tries to convince Riccardo to save Arturo. At first indignant, Riccardo is finally moved to help Elvira, and the two men unite in patriotism: if Arturo returns as a friend, he shall live — if as an armed enemy, he shall die (”Suoni la tromba”).

Act III
In Elvira’s garden, Arturo reveals that love for her has brought him back to Plymouth. He overhears her sing their old love song (”A una fonte afflitto”) and is torn between his love and his loyalty to the Stuarts. Elvira herself appears, and Arturo reassures her that she is his only love (”Vieni fra questa braccia”). Soldiers rush in to arrest Arturo. Just then, a diplomat arrives with the news of the Royalists’ final defeat and a general amnesty for all the offenders. The shock of this news restores Elvira’s senses (”Sento, o mio bell’angelo”), and all rejoice in the peace as Elvira and Arturo embrace in their new happiness.

Opera synopsis courtesy of the Metropolitan Opera.

Funding for GREAT PERFORMANCES AT THE MET: “I Puritani” has been provided by Toll Brothers, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Charles E. Culpeper Foundation, the Arthur F. and Alice E. Adams Charitable Foundation, Miami, Florida, and PBS.

Related Web Sites

• Anna Netrebko
• IMGArtists.com: Eric Cutler
• The Metropolitan Opera: Franco Vassallo
• John Relyea
• The Metropolitan Opera: Maria Zifchak
• Eduardo Valdes
• Valerian Ruminski
• Vincenzo Bellini (in Italian)