Richard Strauss' Der Rosenkavalier is an opera about the passage of time — what it means to grow older, what we lose and what we gain as the years pass, and how we know when it's time to let go of the people that we love. Mezzo-soprano Elīna Garanča knows all about letting go, because after singing the role of Octavian for 17 years, she is giving her final performance as the passionate count this week. But Garanča has no regrets. She's learned to appreciate her life by accepting, and even enjoying, the passage of time.  Elīna Garanča as Octavian and Erin Morley as Sophie in Der Rosenkavalier:  This episode features excerpts from the following albums: Strauss: Der Rosenkavalier (Decca, 2009)— Renée Fleming, soprano; Sophie Koch, mezzo-soprano; Diana Damrau, soprano; Munich Philharmonic conducted by Christian Thielemann Strauss: Der Rosenkavalier (Deutsche Grammophon, 2010)— Diana Damrau, soprano; Elīna Garanča, mezzo-soprano; Staatskapelle Dresden conducted by Fabio Luisi

He Sang/She Sang

Stopping the Clocks With Strauss' 'Der Rosenkavalier'

According to soprano Jennifer Rowley, there’s a little bit of Cyrano in all of us. When it comes to pathos, Franco Alfano’s opera based on Cyrano de Bergerac hits this sentimental story right on the nose. Premiered in 1936, Cyrano the opera brings rich and fragrant music—with hints of Puccini and Debussy—to Rostand’s exquisite poetry, which not only delights the audience but animates its title character, the swashbuckling rhapsodist Cyrano. Convinced that he couldn’t possibly deserve the love of the fair Roxane, Cyrano finds himself in the awkward position of helping an utterly unworthy suitor win her affections. You can practically hear Cyrano’s heart breaking from the back row. This week on He Sang/She Sang, we’ll chat with Jennifer Rowley about her role debut as Roxane at the Metropolitan Opera. She’ll tell us how she became the woman who casts a spell over nearly every male character, and how she learned to walk like a 17th century French lady.  Also, WQXR’s Nimet Habachy and Merrin Lazyan go nosing through the history, themes and musical highlights of this wonderful yet neglected opera.  Cyrano de Bergerac (Montpellier 2003): This episode features excerpts from the following album: Franco Alfano: Cyrano de Bergerac (CPO, 2003)— Manuela Uhl, soprano; Roman Sadnik, tenor; Paul McNamara, tenor; Matthias Klein, bass-baritone; the Kiel Philharmonic Orchestra and Chorus conducted by Markus Frank

A Nose by Any Other Name: Franco Alfano's 'Cyrano de Bergerac'

For his fourth full opera, The Flying Dutchman, Wagner chose a popular maritime legend as the basis for an eerie and evocative work. In it, we meet an archetypal character that appears time and again in art and literature: the eternal wanderer. Neither dead nor alive, the Flying Dutchman is cursed to sail the seas for all eternity, searching for true love to save him.  This week on He Sang/She Sang, William Berger, author of the book Wagner without Fear, discusses one of history's most controversial and visionary composers. He explores the hit tunes and earworms, the power of transformation and the unexpected parallels between Wagner and The Beatles.  Overture to The Flying Dutchman (Round Top Festival Institute):   "Die frist ist um" (James Morris, bass-baritone):   This episode features excerpts from the following album: Wagner: Der fliegende Holländer (Sony Classical, 1997)— James Morris, bass-baritone; Deborah Voigt, soprano; Ben Heppner, tenor; Jan-Hendrik Rootering, bass; the Metropolitan Opera Orchestra and Chorus conducted by James Levine

'The Flying Dutchman': Wagner's Eternal Wanderer

Pharaohs. Mummies. Pyramids. Hieroglyphs. The mystique of ancient Egypt never fades. For more than 2,000 years, Europeans have wondered at her mysteries, and not surprisingly, so did Giuseppe Verdi. Aida premiered in Cairo in 1871, as if to revive the grandeur of the Old Kingdom before the people who conjured it.  One of the theater’s greatest spectacles, Aida is the definition of grand opera. Its cast is enormous — orchestra, singers, dancers, acrobats, horses, exotic animals — yet its story gives laser focus to the private anguish of just three people. This week on He Sang/She Sang, Merrin Lazyan speaks with stage director David Paul about the surprising intimacy of Verdi’s Aida. This week's YouTube picks: Triumphal March from Aida (Metropolitan Opera House, 1989):   The final duet, "O terra, addio" (Aprile Millo, Plácido Domingo, and Dolora Zajick, 1989):  This episode features excerpts from the following album: Verdi: Aida (Sony Classical, 1991)— Aprile Millo, soprano; Plácido Domingo, tenor; Dolora Zajick, mezzo-soprano; the Metropolitan Opera Orchestra and Chorus conducted by James Levine

Aida: Verdi's Most Intimate Spectacle

Wagner's Tristan und Isolde is an extraordinary journey through the human psyche, and through the two most powerful forces guiding our lives: love and death. From the opening bars of the Prelude, the music draws us in with an intense and restless longing that doesn't loosen its grip until the final, transcendent moments of the opera.  This week on He Sang/She Sang, Merrin Lazyan speaks with writer Paul Thomason about the intoxicating magnetism of Tristan und Isolde, and tenor Stuart Skelton compares singing the role of Tristan to climbing the Himalayas.  Paul's YouTube pick (Kirsten Flagstad): Merrin's YouTube pick (Birgit Nilsson):  This episode features excerpts from the following album: Wagner: Tristan und Isolde (EMI Classics, 2005)— Plácido Domingo, tenor; Nina Stemme, soprano; Mihoko Fujimura, mezzo-soprano; Orchestra of the Royal Opera House, Covent Garden conducted by Antonio Pappano

Love and Death in Wagner's 'Tristan und Isolde'

Revolutionary times call for revolutionary music, and Beethoven was living in revolutionary times. At the beginning of the 19th century, he quickly became disillusioned by Napoleon Bonaparte — a leader who initially seemed concerned with freedom but was ultimately obsessed with his own power. Beethoven's political anguish rang out in his music, as did his deeply-held beliefs about the heroic power of ordinary people.  Beethoven spent more than 10 years revising Fidelio, the only opera he ever wrote. This was about more than music for the great composer. It was about freedom, devotion and the triumph of human dignity over tyranny. In this episode, host Merrin Lazyan speaks with Jessica Phillips, second clarinetist in the Metropolitan Opera Orchestra, about Beethoven's revolutionary sound. We also hear from soprano Adrianne Pieczonka, who sings the lead role of Leonora, about the most moving musical moments in Fidelio. “O namelose Freude!” (Adrianne Pieczonka and Klaus Florian Vogt):  “Nur hurtig fort, nur frisch gegraben” (Adrianne Pieczonka and Falk Struckmann):  This episode features excerpts from the following album: Beethoven: Fidelio (Sony Classical, 1996)— Deborah Voigt, soprano; Ben Heppner, tenor; Matthias Hölle, bass; Elizabeth Norberg-Schulz, soprano; Michael Schade, tenor; Thomas Quasthoff, bass-baritone; the Bavarian Radio Symphony Orchestra and Chorus conducted by Sir Colin Davis. 

Into the Light With Beethoven's 'Fidelio'

Idomeneo is considered Mozart's first "mature" opera — the first in which he displays his incredible talent as a vocal and dramatic composer. "Mature" also fittingly describes the central themes of the work, which include parental love, self-sacrifice, and the human struggle against the machinations of gods and fate. In light of the fact that Mozart was only 24 when he composed Idomeneo, his insight into the timeless questions we face is all the more striking. World-renowned mezzo-soprano Alice Coote joins host Merrin Lazyan to explore the themes of love and fate through the lens of Coote's character, Idamante. She also speaks candidly about the perils of dressing (and undressing) for a trouser role. Quartet from Act III (Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever):  This episode features excerpts from the following albums: Mozart: Idomeneo (Deutsche Grammophon, 1996)— Plácido Domingo, tenor; Cecilia Bartoli, mezzo-soprano; Heidi Grant Murphy, soprano; Carol Vaness, soprano; The Metropolitan Opera Orchestra and Chorus conducted by James Levine Handel: The Choice of Hercules (Hyperion, 2001)— Alice Coote, mezzo-soprano; The King's Consort conducted by Robert King

Fate and Forbidden Love in Mozart's 'Idomeneo'

Gioachino Rossini was only 37-years-old when he wrote his final opera, William Tell. Although he lived for another 40 years, this epic work would remain a swan song of sorts. The libretto — based on a French play by Friedrich Schiller — tells the story of a Swiss community fighting for political freedom under Hapsburg rule. Through the music, we understand Tell's struggle to keep his family together while serving the greater good, and we experience a love that transcends tribal and national boundaries.  On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher are joined by author Fred Plotkin to discuss the glorious music of Rossini's final opera, William Tell. We also speak with the Tony-nominated set designer George Tsypin about the themes of nature and freedom that inspired him.  Fred's YouTube pick (Luciano Pavarotti):  Merrin's YouTube pick (Mary Schneider):  Julian's YouTube pick:  This episode features excerpts from the following album: Rossini: William Tell (EMI Classics, 2011)— Gerald Finley, baritone; Marie-Nicole Lemieux, contralto; Elena Xanthoudakis, soprano; Malin Byström, soprano; John Osborn, tenor; Orchestra dell'Accademia Nazionale di Santa Cecilia conducted by Antonio Pappano

William Tell: Rossini's Grand Finale

On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher are joined by dramaturg Cori Ellison to discuss Verdi's mythical and timeless masterpiece, La Traviata. We also speak with baritone Thomas Hampson, who has been singing the role of Germont for 25 years. Hampson tells us how the complex and beautiful dilemmas that we find in this opera help us to better understand who we really are.  Cori's YouTube pick (Maria Callas and Ugo Savarese, 1953):   Merrin's YouTube pick (Anna Netrebko and Rolando Villazón, 2005):  Julian's YouTube picks (Joni Mitchell):   This episode features excerpts from the following albums: Giuseppe Verdi: La Traviata (Deutsche Grammophon, 1992)— Cheryl Studer, soprano; Luciano Pavarotti, tenor; Metropolitan Opera Orchestra conducted by James Levine Verdi: La Traviata (Deutsche Grammophon, 2005)— Thomas Hampson; baritone; Vienna Philharmonic conducted by Carlo Rizzi

La Traviata: Verdi's Timeless Fallen Woman

When Johann Wolfgang von Goethe's epistolary novel The Sorrows of Young Werther was published in 1774, it became an overnight sensation. Men wore yellow waistcoats and leather breeches to look like the novel's lovelorn hero, they carried vials of their own tears to display the depth of their feelings, and they even killed themselves in solidarity with the title character. The story of passionate, unrequited love was equally resonant when Jules Massenet's opera premiered a century later, and the glorious music is still just as heart-rending today.  On this week's episode of He Sang/She Sang, Merrin Lazyan and Jeff Spurgeon speak with writer James Kuslan about Massenet's Werther. We also hear from mezzo-soprano Isabel Leonard about the magnetic power of love at first sight.   Kuslan's first YouTube pick (Tatiana Troyanos, 1982): Kuslan's second YouTube pick (Christa Ludwig and Franco Corelli, 1971): Spurgeon's YouTube pick (Lisette Oropesa and Jonas Kaufmann):  This episode features excerpts from the following album: Massenet: Werther (Philips, 1981)— José Carreras, tenor; Frederica von Stade, mezzo-soprano; Isobel Buchanan, soprano; Orchestra of the Royal Opera House conducted by Sir Colin Davis

Werther: Massenet's Lovelorn Hero

Antonin Dvorak fell in love with the story of Rusalka as soon as he laid eyes on the libretto, and it was an immediate success when it premiered at the National Theater in Prague in 1901. Based primarily on two fairy tales (Hans Christian Andersen's "The Little Mermaid" and Friedrich de la Motte Fouque's "Undine"), it tells the story of a water nymph who falls in love with a prince and trades her voice to become human. Contrary to the Disney version, the story ends tragically for Rusalka. She is betrayed by the man she loves and she is doomed to spend the rest of her life trapped between the immortal world of the water nymphs and the mortal human world.  Rusalka's journey is one of extraordinary transformation — from nymph to human, from mortal to immortal, from water to land, from family to isolation, from love to betrayal, and from longing to resignation. We hear it all in Dvorak's lush score and we quickly understand why this opera is considered a national treasure in the Czech republic. In this episode, Merrin Lazyan and Julian Fleisher speak with WQXR overnight host Nimet Habachy about Dvorak's supernatural masterpiece. We also hear from soprano Kristine Opolais about her special connection to this role, about the betrayals we face and about the sacrifices we make for love.  Nimet's YouTube pick (Frederica von Stade):  Julian's YouTube picks:  This episode features excerpts from the following album: Dvorak: Rusalka (London/Decca, 1998)— Renée Fleming, soprano; Ben Heppner, tenor; Franz Hawlata, bass-baritone; Ivan Kusnjer, baritone; Livia Aghova, soprano; Dana Buresova, soprano; Hana Minutillo, mezzo-soprano; Czech Philharmonic Orchestra conducted by Sir Charles Mackerras

Nymphs, Witches and Gnomes: The Magic of 'Rusalka'

On this week's episode of He Sang/She Sang, Merrin Lazyan and Jeff Spurgeon speak with director Sarah Meyers about why, despite its utterly implausible plot, some consider Bellini's I Puritani to be among the greatest operatic masterpieces ever written. We also hear from bass-baritone Luca Pisaroni about his role debut as Giorgio, the best singing advice he's ever received, and the joys of traveling with his two dogs, Lenny and Tristan.  Sarah's YouTube pick (Anna Netrebko, Eric Cutler, Franco Vassallo, John Reylea): Jeff's YouTube pick (Alexey Markov and Luca Pisaroni): Merrin's YouTube pick (Diana Damrau and Javier Camarena):  This episode features excerpts from the following album: Bellini: I Puritani (Decca, 1987)— Joan Sutherland, soprano; Luciano Pavarotti, tenor; Nicolai Ghiaurov, bass; Piero Cappuccilli. baritone; the London Symphony Orchestra conducted by Richard Bonynge 

The Madness and Music of 'I Puritani'

The 1875 premiere of Carmen at the Opera Comique in Paris was met with shocked gasps and raised eyebrows. Both the story and its seductive heroine were shockingly risque for the audience and the critics in attendance. But the genius of Bizet's music was irrepressible, and the opera was a resounding success within a few short months. It remains among the most-performed operas in history.   On this week's episode of He Sang/She Sang, hosts Merrin Lazyan and Julian Fleisher speak with conductor Asher Fisch all about Bizet's masterpiece. We discuss why this opera is loved by opera newbies and connoisseurs alike, and Fisch shares a few of his tips and tricks for keeping an opera on track when it all starts to fall apart. We also speak with mezzo-soprano Clémentine Margaine, who is making her Metropolitan Opera debut as opera's famous femme fatale -- an independent, sexually liberated gypsy woman who trades her life for freedom.   Julian's YouTube pick (from Gilligan's Island): Merrin's YouTube Pick (Maria Callas, 1962): This episode features excerpts from the following album: Bizet: Carmen (EMI Classics, 2003)— Angela Gheorghiu, soprano; Roberto Alagna, tenor; Orchestre National du Capitole de Toulouse conducted by Michel Plasson  

Carmen: Bizet's Famous Femme Fatale

Even before Rigoletto's Venice premiere in 1851, Verdi knew that "La donna è mobile" would be a huge hit. He instructed the orchestra members not to whistle or sing the melody, and he even waited until the very last moment to give the music to the tenor. Verdi wanted to ensure that the third-act aria characterizing the Duke of Mantua's licentious treatment of women would have maximum impact on an unsuspecting audience. The opera was an immediate smash hit. It was one of the first of Verdi's operas to establish him as a great international composer, and its many memorable melodies still reverberate in opera houses across the globe.  On this episode of He Sang/She Sang, we speak with Tony Award-winning director Michael Mayer, who created this "Rat Pack" version of Rigoletto that opened at the Met in 2013. Updated to a 1960 Las Vegas casino setting, Mayer tells us that Frank Sinatra was the original model for the Duke of Mantua. We also speak with soprano Olga Peretyatko, who is performing the role of Rigoletto's strong and self-sacrificing daughter, Gilda. Listen to learn  more about Verdi's tragic jester.   Merrin's YouTube pick (Plácido Domingo, Vittorio Grigolo, Julia Novikova, Nino Surguladze, 2010:  Jeff's YouTube pick, No.1 (Luciano Pavarotti, 1964):  Jeff's YouTube pick, No. 2 (Luciano Pavarotti, 1982):  This episode features excerpts from the following album: Verdi: Rigoletto (London, 1989)— Luciano Pavarotti, tenor; Leo Nucci, baritone; June Anderson, soprano; Shirley Verrett, mezzo-soprano; Orchestra of the Teatro Comunale di Bologna conducted by Riccardo Chailly

Rigoletto: Verdi's Tragic Jester

Despite its disastrous premiere in 1816 — complete with raucous heckling, a bloody nose and a stray cat scampering across the stage — Rossini’s The Barber of Seville quickly joined the ranks of the best-loved and most-performed operas in the world. Based on the first of a trilogy of plays by the French writer Pierre Beaumarchais (the second of which is The Marriage of Figaro), Barber is full of characters and tunes that have delighted audiences for centuries. In this episode, the He Sang/She Sang team talks with WQXR morning show host Jeff Spurgeon about why Figaro’s memorable aria “Largo al factotum” is a baritone’s “calling card” aria and how Rossini’s music has found its way into movies, TV commercials and everyone’s favorite Saturday morning cartoons. Jeff Spurgeon's YouTube pick: (Note: this podcast was recorded shortly before we learned of the death of soprano Roberta Peters. We mourn her passing and are grateful to remember her artistry in sharing this clip of her in one of her signature roles, Rosina, in Rossini's The Barber of Seville.) Merrin Lazyan's YouTube pick: Mike Shobe's YouTube pick: This episode features excerpts from the following album: Rossini: Il Barbiere di Siviglia (RCA, 1987)— Robert Merrill, baritone; Roberta Peters, soprano; Georgio Tozzi, bass; Metropolitan Opera Orchestra conducted by Erich Leinsdorf

Humor and High Jinks in Rossini's 'The Barber of Seville'

He Sang/She Sang is a new podcast from WQXR for the opera-curious and opera superfans who want to know what all those big voices are really singing about. The podcast follows the radio broadcast season of the Metropolitan Opera with a weekly roundtable chat that discusses the plots, characters, music, productions, social significance and great performances of that week's opera. Following the Met's radio broadcast season, He Sang/She Sang will dive into the new productions of Wagner’s Tristan und Isolde and Rossini’s William Tell, the Met premiere of an opera by Finnish composer Kaija Saariaho and fan favorites by Verdi, Puccini and Mozart. He Sang/She Sang is hosted by Merrin Lazyan and Michael Shobe, with appearances by superstar soprano Anna Netrebko, Met Opera tenor Stuart Skelton, WQXR hosts Jeff Spurgeon and Nimet Habachy, BBC 3 host Clemency Burton Hill and others.

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He Sang/She Sang

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