…an 18th century-style double-keyboard French harpsichord of the sort for which most Baroque keyboard music was written…

“Music for a while shall all your cares beguile” (from “Oedipus”) is one of my favorite songs of Henry Purcell, widely considered the greatest of English composers. Music has always been an important part of my life, and these are a few of my favorite songs and piano pieces.

piano & keyboard music

Gervaise, Pavane Passamaize (6ème Livre de Danceries) (1555)

Charpentier, Prelude, Te Deum (H. 146) (c. 1692)

Corelli, Adagio from the Christmas Concerto (Op. 6, No. 8) (1712)
Corelli, Vivace from the Christmas Concerto (Op. 6, No. 8) (1712)

Bach, Jesu, Joy of Man’s Desiring (1717) (chorale from Cantata 147, Herz und Mund und Tat und Leben)
Bach, Invention No. 1 in C Major (BWV 772)
Bach, Invention No. 14 in B-Flat Major (BWV 785) (1720-23)
Bach, Praeludium No. 1 in C (BWV 846) (1722)
Bach, Praeludium No. 8 in E-Flat Minor (BWV 853) (1722)
Bach, Praeludium No. 21 in B-Flat Major (BWV 866) (1722)
Bach, Fantasia in A Minor (BWV 904) (1725)
Bach, Praeludium, Partita in B-flat (BWV 825) (1726)
Bach, Sarabande, Partita in B-flat (BWV 825) (1726)
Bach, Chromatische Fantasie (BWV 903) (1730)
Bach, Concerto No. 1 in D Major (BWV 972) (after Vivaldi, Op. 3, No. 9, RV 230)
Bach, Aria mit verschiedenen Veränderungen (Goldberg Variations) (BWV 988) (1741)

— Aria (sarabande)
— Variation #7
— Variation #13
— Variation #16
— Variation #25
— Variation #29
— Variation #30

Handel, Air in E Major from Suite No. 5 (‘the Harmonious Blacksmith’) (1720)

Scarlatti, Sonata in E Major (K. 380, L. 23) (1753?)

Couperin, Les Baricades Mysterieuses (6ème ordre) (1713)
Couperin, La Ménetou (7ème ordre) (1713)
Couperin, Passacaille (8ème ordre) (1713)
Couperin, La Superbe ou la Fouqueray (17ème ordre) (1722)
Couperin, Les Satyrs: Les Chevres-Pieds (23ème ordre) (1730)
Couperin, L’Amphibie (24ème ordre) (1730)
Couperin, La Visionaire (25ème ordre) (1730)

Rameau, Gavotte (2ème) (Castor et Pollux) (1737)
Rameau, Naissez dons de Flore (Gavotte en Rondeau) (Castor et Pollux) (1737)
Rameau, Renais, plus brillante (Castor et Pollux, 1737)

Haydn, Sonata in E-flat Major (No. 52), Hob. XVI: 52 (1794): adagio

Mozart, March of the Priests (Die Zauberflöte, 1791)

Beethoven, Pathetique Sonata in C Minor (Op. 13) (1798): adagio cantabile
Beethoven, Piano Trio in B-flat major, No. 7, Op. 7 (‘Archduke’), andante cantabile ma però con moto (1811)

Schubert, Impromptu in A-flat Major (Op. 142, No. 2) (D.935/2) (1827)
Schubert, Impromptu in G-flat Major (Op. 90, No. 3) (D.899/3) (1827)

Schumann, Kinderszenen, Op. 15 (1838)
— Von Fremden Ländern und Menschen
— Bittendes Kind
— Glückes Genug
— Wichtige Begenbenheit
— Träumerei
— Der Ritter vom Steckenpferd
— Der Dichter spricht
Schumann, Arabeske, Op. 18 (1839)

Brahms, Waltz in A-Flat Major, Op. 39, No. 15 (1865)
Brahms, Intermezzo in A major, Op. 118, No. 2 (1893)

Dvorak, Humoreske, Op. 101, No. 7 (1894)

Liszt, Hungarian Rhapsody No. 2 (S.244/2) (1847)

Chopin, Mazurka in B-flat major, Op. 7, No. 1 (1832)
Chopin, Etude in E Major, Op. 10, No. 3 (1833)
Chopin, Etude in C Minor, Op. 10, No. 12 (‘Revolutionary’) (1833)
Chopin, Nocturne in E-flat major, Op. 9, No. 2 (1833)
Chopin, Fantaisie-Impromptu, Op. 66 (1835)
Chopin, Nocturne in D-flat major, Op. 27, No. 2 (1836)
Chopin, Prelude in C Minor, Op. 28, No. 20 (1839)

Mascagni, Intermezzo (Cavalleria Rusticana) (1890)

Massenet, Meditation (Thais) (1894)

Elgar, Nimrod (Enigma Variations, Op. 36) (1899)

Albeniz, Tango in D major, No. 2 (1905)

Kreisler, Liebesleid (1905)

Joplin, Solace: A Mexican Serenade (1909)

Debussy, Les collines d’Anacapri (1909-10)
Debussy, Les sons et les parfums tournent dans l’air du soir (1909-10)

Poulenc, Sicilienne (Suite Française –

Suite d’apres Claude Gervaise) (1935)

Burgon, Brideshead Revisited theme (1981)

Lieder

Dowland, A shepherd in a shade
Dowland, Can she excuse my wrongs?
Dowland, Come again, sweet love doth now invite (1597)
Dowland, Come away, come sweet love
Dowland,  Dear, if you change
Dowland, Fine knacks for ladies (1603)
Dowland, Flow, my tears (Lachrymae Pavane)
Dowland, If my complaints could passions move
Dowland, Now, cease my wand’ring eyes
Dowland, Now, o now, I needs must part

Gibbons, The Silver Swan (1612)

Johnson, Have you seen the bright lily grow? (1614)

Calestani, Damigella tutta bella (1617)

Purcell, Come, Ye Sons of Art (Ode for the Birthday of Queen Mary) (Z 323) (1694)

Bach, Schafe können sicher weiden (Sheep may safely graze)
(aria from Cantata 208, Was mir behagt, ist nur die muntre Jagd!) (The lively hunt is all my hearts desire) (‘Hunt’ or ‘Birthday’ Cantata) (1713)
Bach, Bist du bei mir (BWV 508) (1725) (attr., “Stölzel, Diomedes,” 1718)

Giordani, Caro Mio Ben (1782)

Mozart, Laudate Dominum (Vesperae Solennes de Confessore, K. 339) (1780)

Haydn, Einigkeit und Recht und Freiheit (das Deutschlandlied) (1797)

Martini, Plaisir d’Amour

Schubert, An die Musik (Schober) (D. 547) (1817)
Schubert, An Sylvia (Shakespeare) (D. 891) (1826)
Schubert, Ellens dritter Gesang, a.k.a., Ave Maria (Scott/Storck) D.839) (Op. 52. No. 6) (1825)
Schubert, Der Einsame (Lappe) (D.800) (1825)
Schubert, Fischerweise (Schlechta) (D.881) (1826)
Schubert, Die Forelle (Schobart) (D.551) (1817)
Schubert, Litanei auf das Fest aller Seelen (Jacobi) (D.343) (1816)
Schubert, Nacht und Träume (Collin) (D.827) (1822)
Schubert, Der Tod und das Mädchen (Claudius) (D.531) (1817)
Schubert, Wiegenlied (Schlafe, schlafe, süßer Knabe) (anon.) (D.498) (1816)
Schubert, Der Zwerg (D. 771) (1822)
Schubert, Ständchen (Rellstab) (Schwanengesang) (D.957) (1828)
Schubert, Der Lindenbaum (Winterreise) (Op. 89, No. 5) (D.911) (1827)
Schumann, Morgen steh’ ich auf und frage) (Heine) (Liederkreis) (Op. 24, No. 1) (1840)
Schumann, Ich wandelte unter den baumen (Heine) (Liederkreis) (Op. 24, No. 3) (1840)
Schumann, Widmung (Rckert) (Myrthen) (Op. 25, No. 1)
Schumann, Der Nussbaum (Mosen) (Myrthen) (Op. 25, No. 3)
Schumann, Die Lotusblume (Heine) (Myrthen) (Op. 25, No. 7)
Schumann, Mondnacht (Eichendorff) (Liederkreis) (Op. 39, No. 5) (1840)
Schumann, Auf einer Burg (Eichendorff) (Liederkreis) (Op. 39, No. 7) (1840)
Schumann, Seit ich ihn gesehen (Chamisso)(Frauenliebe und Leben) (Op. 42, No. 1) (1840)
Schumann, Er, der Herrlichste von Allen (Chamisso) (Frauenliebe und Leben) (Op. 42, No. 2) (1840)
Schumann, Du Ring an meinem Finger (Chamisso) (Frauenliebe und Leben) (Op. 42, No. 4) (1840)
Schumann, An meinem Herzen (Chamisso) (Frauenliebe und Leben) (Op. 42, No. 7) (1840)
Schumann, Im wunderschönen Monat Mai (Heine) (Dichterliebe) (Op. 48, No. 1) (1840)
Schumann, Die Rose, die Lilie (Heine) (Dichterliebe) (Op. 48, No. 3) (1840)
Schumann, Ich grolle nicht (Heine) (Dichterliebe) (Op. 48, No. 7) (1840)
Schumann, Die Alten, bösen Lieder (Heine) (Dichterliebe) (Op. 48, No. 15) (1840)
Schumann, Aus älten Märchen winkt es (Heine) (Dichterliebe) (Op. 48, No. 16) (1840)

Hume, Flow Gently, Sweet Atton (1792)

Berlioz, Vilanelle (Les Nuits d’Eté) (Gautier) (1840-41)

Grieg, Våren (Spring)  (1859)
Grieg, Jeg elsker Dig (Ich liebe dich) (1864)
Grieg, Der Lauf der Welt (Sechs Lieder, Op. 48, No. 3) (1889)
Grieg, Ein Traum (Sechs Lieder, Op. 48, No. 6) (1889)

Brahms, Wiegenlied (1868)

Hahn, L’Heure Exquise (Chanson Grises, 1870)
Hahn, Quand je fus pris au pavillon (Douze Rondels, 1875)
Hahn, A Chloris (1916)

Strauss, R., Morgen (Op. 27, No. 4, 1893)
Strauss, R., September (Op. posthumous, No. 4, 1948)
Strauss, R., Beim Schlafengehen (Op. posthumous, No. 4, 1948)

Obradors, Del Cabello Más Sutil (Canciones clásicas españolas, no. 4) (

opera arias

Caccini, Amarilli, mia bella (1601)

Carissimi, Vittoria, mio core (1656)

Scarlatti, Le Violette (Pirro e demetrio) (1694)
Scarlatti, Già il sole dal Gange (L’Honestà negli Amori) (1680)

Purcell, Ah! Belinda, I Am Press’d With Torment (Dido and Aeneas) (1689)
Purcell, When I Am Laid in Earth (Dido’s Lament) (Dido and Aeneas) (1689)
Purcell, Fairest Isle (King Arthur) (1691)
Purcell, Music for a While (Oedipus) (Z.583/2) (1692)
Purcell, Halcyon Days (The Tempest) (1695)
Purcell, I Attempt From Love’s Sickness To Fly in Vain (The Indian Queen) (Z.630) (1695)

Caldara, Alma del core (La costana in amor vince l’inganno) (1711)

Bononcini, Per la Gloria d’adorarvi (Griselda) (1722)

Handel, Cara sposa (Rinaldo) (HWV 7) (1711)
Handel, Lascia ch’io pianga (Rinaldo) (HWV 7) (1711)
Handel, Pena tiranna (Amadigi di Gaula) (HWV 11) (1715)
Handel, Piangero la sorte mia (Giulio Cesare) (HWV 17) (1724)
Handel, V’adoro pupille (Giulio Cesare) (HWV 17) (1724)
Handel, Non è si vago è bello (Giulio Cesare) (HWV 17) (1724)
Handel, Da tempeste il legno infranto (Giulio Cesare) (HWV 17) (1724)
Handel, Par che mi nasca in seno (Tamerlano) (HMV 18)
Handel, Dove sei, amato bene? (Rodelinda)
Handel, Lascia ch’io pianga (Rinaldo)
Handel, Vivi, tiranno (Rinaldo)
Handel, Ombra mai fu (Serse)
Handel, Verdi prati (Alcina)
Handel, But who shall abide the day of his coming? (Messiah) (HWV 56) (1742)
Handel, I know that my Redeemer liveth (Messiah) (HWV 56) (1742)
Handel, The trumpet shall sound (Messiah) (HWV 56) (1742)
Handel, Where’er You Walk (Semele) (1743)
Handel, Tochter Zion, freue dich (Joshua) (HWV 64) (1747)
Handel, Dank, sei dir (attribution said to be spurious)

Gay, Let us take the road (The Beggar’s Opera, 1728) (march from Handel’s Rinaldo)
Gay, Were I laid on Greenland’s coast… Over the hills and far away (The Beggar’s Opera, 1728

Rameau, Resnais, plus brillante (Castor et Pollux, 1737)
Rameau, Naissez don des flores (Castor et Pollux, 1737)

Arne, Rule, Britannia! (Alfred, 1740)

Mozart, Se vuol ballare, signor contino (Le Nozze di Figaro, 1786)
Mozart, Voi, che sapete (Le Nozze di Figaro, 1786)
Mozart, Madamina, il catologo è questo (Don Giovanni, 1787)
Mozart, Secondate, aurette amiche (Così Fan Tutte, 1790)
Mozart, Di scrimermi ogni giorno (Così Fan Tutte, 1790)
Mozart, Soave sia il vento (Così Fan Tutte, 1790)
Mozart, In uomini, in soldati (Così Fan Tutte, 1790)
Mozart, Un’ aura amorosa (Così Fan Tutte, 1790)
Mozart, Una donna a quinidici anni (Così Fan Tutte, 1790)
Mozart, Il core vi dono, bell’idolo mio (Così Fan Tutte, 1790)
Mozart, Ein Vogelvänger bin ich ja (Die Zauberflöte, 1791)
Mozart, Drei  Knäbchen, jung, schön, hold und weise… (Die Zauberflöte, 1791)
Mozart, Bei Männern, welche Liebe fühle (Die Zauberflöte, 1791)
Mozart, O Isis und Osiris (Die Zauberflöte, 1791)
Mozart, In diesem heilgen Hallen (Die Zauberflöte, 1791)
Mozart, Bewahret euch vor Weibertücken (Die Zauberflöte, 1791)
Mozart, Der Hölle Rache kocht in meinem Herzen (Die Zauberflöte, 1791)
Mozart, Ach, ich fühl’s, es ist verschwunden (Die Zauberflöte, 1791)
Mozart, Ein Mädchen oder Weibchen (Die Zauberflöte, 1791)

Rossini, Di tanti palpiti (Tancredi, 1812-13)

Donizetti, Una furtiva lagrima (L’Elisir d’Amore, 1831)

Donizetti, Chi mi frena in tal momento? (Lucia di Lammermoor, 1835)

Verdi, Va, pensiero, sull’ali dorate (Nabucco,1842)
Verdi, Ave Maria (Otello, 1887)

Strauss, Jr., Brüderlein und Schwesterlein (Die Fledermaus, 1874)

Saint-Saëns, Mon cœur s’ouvre à ta voix (Samson et Dalila) (1877)

Sullivan, The Moon and I (The Mikado) (1885)

Humperdinck, Abendsegen (Evening Prayer) (Hänsel und Gretel, 1893)

Giordano, Amor ti vieta (Fedora, 1898)

Léhar, Lippen schweigen (Die lustige Witwe, 1905)

Puccini, Quando m’en vo (La Bohème, 1896)
Puccini, Vissi d’arte (Tosca, 1900)
Puccini, Ch’il bel sogno di Doretta (il Sogno di Doretta) (La Rondine, 1917)
Puccini, Mi vuoi dir chi sei tu? (La Rondine, 1917)
Puccini, O Mio Babbino Caro (Gianni Schichi, 1918)

Strauss, R., Di rigori armato il seno (Der Rosenkavalier, 1911)

Orff, In Trutina (Carmina Burana) (1936)

popular songs

Berlin, Cheek to Cheek (Top Hat) (1935)
Berlin, White Christmas (White Christmas, 1942)

Gershwin, Embraceable You (Girl Crazy) (1930)
Gershwin, I Got Rhythm (Girl Crazy) (1930)
Gershwin, He Loves & She Loves (Funny Face) (1927)
Gershwin, S’Wonderful (Funny Face) (1927)
Gershwin, Foggy Day (A Damsel in Distress) (1937)
Gershwin, Of Thee I Sing (Of Thee I Sing) (1932)
Gershwin, Strike Up the Band (Strike Up the Band) (1926)
Gershwin, Someone to Watch Over Me (Oh, Kay!) (1926)
Gershwin, Summertime (Porgy & Bess)

Kern, Can’t Help Lovin’ Dat Man (Show Boat) (1927)
Kern, Make Believe (Show Boat) (1927)
Kern, Ol’ Man River (Show Boat) (1927)
Kern, The Way You Look Tonight (Swing Time) (1936)

Porter, I Get a Kick Out of You (Anything Goes) (1934)
Porter, Begin the Beguine (Jubilee) (1935)

Rodgers, Blue Moon (1934)
Rodgers, Falling in Love (The Boys From Syracuse) (1938)
Rodgers, Bewitched, Bothered and Bewildered (Pal Joey) (1940)
Rodgers, People Will Say We’re in Love (Oklahoma) (1943)
Rodgers, Out of My Dreams (Oklahoma) (1943)
Rodgers, The Surrey with the Fringe on Top (Oklahoma) (1943)
Rodgers, Out of My Dreams (Oklahoma) (1943)
Rodgers, If I Loved You (Carousel) (1945)
Rodgers, When the Children Are Asleep (Carousel) (1945)
Rodgers, You’ll Never Walk Alone (Carousel) (1945)
Rodgers, All I Owe Ioway (State Farm) (1945)
Rodgers, It Might As Well Be Spring (State Farm) (1945)
Rodgers, It’s a Grand Night for Singing (State Farm) (1945)
Rodgers, Some Enchanted Evening (South Pacific) (1949)
Rodgers, Younger Than Springtime (South Pacific) (1949)
Rodgers, Hello, Young Lovers (The King & I) (1951)
Rodgers, Shall We Dance? (The King & I) (1951)
Rodgers, Do I Love You Because You’re Beautiful? (Cinderella) (1957)
Rodgers, Impossible; It’s Possible (Cinderella) (1957)
Rodgers, Stepsister’s Lament (Cinderella) (1957)
Rodgers, Ten Minutes Ago (Cinderella) (1957)
Rodgers, Edelweiss (The Sound of Music) (1959)
Rodgers, Something Good (The Sound of Music) (1959)
Rodgers, The Sound of Music (The Sound of Music) (1959)

Willson, ‘Till There Was You (Music Man) (1957)

Carmichael, Stardust (1928)
Carmichael, Heart & Soul (1938)

Arlen, If I Only Had a Brain (The Wizard of Oz) (1939)
Arlen, Over the Rainbow (The Wizard of Oz) (1939)

Martin, Have Yourself a Merry Little Christmas (Meet Me in St. Louis, 1944)

Dylan, Blowin’ in the Wind

Yarrow & Lipton, Puff the Magic Dragon

Holt, Lemon Tree (c. 1960)

Trénet, La Mer (1946)

Lenoir, Parlez-moi d’amour

Jeannine Deckers (‘Soeur Sourire’), Dominique (1963)

Don McLean, American Pie (1971)
Don McLean, Vincent (1972)

folk songs

Latin

Gaudeamus Igitur

English

Blow the Wind Southerly
The Cutty Wren
Drink Old England Dry
Drink To Me Only With Thine Eyes
God Rest Ye, Merry Gentlemen
Greensleeves
Scarborough Fair
Tam Broon
Wayfaring Stranger

Cecil Sharp

The Cuckoo (I: XIX, p. 48)
Fanny Blair (I: XXX p. 70)
Henry Martin (I: I, p. 1)
High Germany (I: XL, p. 93)
The Keeper (II: XXIX, p. 68)
Lord Rendal (II: I, p. 2)
O No, John (II: XLV, p. 116)=
Scarborough Fair (II: XXII, p. 52)
The Sprig of Thyme (I: XVIII, p. 45)
William Taylor (I: L, p. 114)

Irish

Buachaill an Chuil Dualaigh (Youth of the Ringlets)
Danny Boy
Down by the Sally Gardens (text by William Butler Yeats)=
Eamon An Chnuic
Eibhlin a Riun (Eileen Aroon)
Erin Go Bragh
Fainne Gael an Lae (The Dawning of the Day)
The Foggy Dew
The Foggy Dew (Easter Rebellion Song)
In the Bleak Midwinter
The Lakes of Shallin
The Last Rose of Summer (text by Thomas Moore)
The Minstrel Boy (The Moreen)
My Love’s an Arbutus (Coola Shore)
Pearla an Brhrollaigh Bhain (The Snowy Breasted Pearl)
The Water Is Wide (Waly, Waly)
The Wearing of the Green

Manx

Arrane Ny Vlieaun (Manx milking song)
Snieu, Queeyl Snieu (Spin, Wheel, Spin) (Manx spinning song)

Scottish

Annie Laurie
Auld Lang Syne
Loch Lomond
Mary Hamilton (The Four Marys)
My Love is Like a Red. Red Rose (text by Robert Burns)
Will You Go, Lassie, Go? (Wild Thyme)

Welsh

Ar Hyd y Nos (All Through the Night)
Suo-Gan (Welsh cradle song)

Cornish

Trelawny

American folk & traditional

Amazing Grace
Aura Lee
Chester
The Colorado Trail
Shenandoah
Simple Gifts (arr. Copland)
Swing Low, Sweet Chariot

18^th & 19^th century American

Key, Star-Spangled Banner (1812)
Adams, Nearer My God to Thee (1843)
Becket, Columbia, the Gem of the Ocean (1843)
Foster, Oh, Susannah~! (1847)
Foster, My Old Kentucky Home (1853)
Foster, Jeannie with the Light Brown Hair (1854)
Howe, Battle Hymn of the Republic (1861)
Root, Battle Cry of Freedom (Rally Round the Flag) (1862)
Gibbons & Foster, We Are Coming, Father Abraham (1862)
Lowry, At the River (1864)
Foster, Beautiful Dreamer (1864)

Scandinavian

Hvem kan seile foruten vind? (Ven kan segla förutan vind?)

French

Au clair de la lune
Malbrough s’en va-t-en guerre
Sur le pont d’Avignon

Spanish

Los Cuatro Generales
Venga, Jaleo
Viva la Quince Brigada

Korean

Arirang
Doraji

hymns

Abide With Me
Schmücke dich, o liebe Seele (

national anthems

La Marseillaise (France) (Claude-Joseph Rouget de Lisle, 1792)
Einigkeit und Recht und Freiheit (das Deutschlandlied) (Germany)
(Franz Josef Haydn, 1797)
The Star-Spangled Banner (US) (Francis Scott Key, 1814)
Nkosi sikelel’i Afrika (Enoch Sontonga, South Africa)

television themes

Upstairs, Downstairs (Alexander Faris, 1971)

Brideshead Revisited (Geoffrey Burgon, 1982)

Miss Marple (Ken Howard & Alan Blaikley, 1982)

The post Music for a while shall all your cares beguile appeared first on Pauline Park.

Renée Fleming in Rossini’s “Armida”

The Metropolitan Opera’s 2009-10 season is anything if not eclectic, representing a judicious mix of old warhorses and operatic rarities. The new season will feature eight new productions – four of which are being billed as “company premieres” – and 18 revivals.

Among the “tried and true” are new productions of two of the most popular operas in the repertoire: Bizet’s Carmen and Puccini’s Tosca. From the French repertoire, the Met will be offering new productions of Jacques Offenbach’s Les Contes d’Hoffmann (The Tales of Hoffmann) and Ambroise Thomas’s Hamlet, the latter based (somewhat loosely) on the Shakespeare play of that name.

But perhaps most interesting to veteran operagoers will be the four new productions of operas never before heard at the Met: Rossini’s Armida, Verdi’s Attila, Janáček’s From the House of the Dead, and Shostakovich’s The Nose – all of which deserve the appellation “rarity.”

One has the impression that Armida is being staged to showcase the Met’s reigning diva of the day, Renée Fleming; certainly, even among ardent Rossinians, there will be few who have seen this opera anywhere since its premiere in Naples in 1817. As for the rationale for staging Attila– one of the most obscure and rarely staged of any of the early Verdi operas – there has been little demand as far as I am aware – whether here in New York or elsewhere – for operatic depictions of the ruthless leader of the nomadic Huns. One could certainly imagine that the entertainment value of hearing Attila the Hun singing in Italian in 4/4 time could wear thin over a long evening in the theater.

But having commissioned Tan Dun to produce the bloated and pretentious bomb of an opera about the first emperor of China (imaginatively entitled The First Emperor) for the 2006-2007 season, the Met may wish to follow up by commissioning an opera about the life of Genghis Khan, Timur, or some other well-known bloodthirsty conqueror of yore.

Perhaps even more adventurous in subject matter than Attila is Shostakovich’s opera about a man “who wakes up to discover that his nose has disappeared.” But the most intriguing of all the new productions is that From the House of the Dead, which Janáček set in a Siberian prison camp. First staged in the Czech city of Brno in 1930, From the House of the Dead was Janáček’s last opera and considered by some to be his most extraordinary. Directed by Patrice Chéreau – best-known for his controversial 1976 Bayreuth production of Wagner’s Ring cycle – and co-produced with three European companies, this new production of Janáček’s final work for the stage was voted Europe’s best opera staging for 2007.

The new Met season commences with an opening night gala on September 21 with Karita Mattila singing the title role in Puccini’sTosca for the first time at the Met. Tosca is not a role one immediately associates with the Finnish soprano, but she is an exceptionally versatile singer and one of the best dramatic sopranos in opera today. The other special event of the season is the New Year’s Eve gala performance of Bizet’s Carmen, with Angela Gheorghiu – a Romanian soprano with a distinctly mixed track record – in the title role.

The new season is being described by the Met as “the first to be entirely planned under Peter Gelb’s leadership,” reflecting the still new-ish general manager’s attempt to put his own innovative stamp on a company with something of a reputation for staging stodgy productions of old warhorses studded with temperamental big-name stars. Certainly, one can have no doubt that long-time music director James Levine still exerts great influence over the choice of singers as well as productions; but with this new season, the Met is becoming Peter Gelb’s Met as much as it was at one time Sir Rudolph Bing’s Met.

Gelb’s audacious efforts to increase the audience for opera through the screening of filmed stage productions in movie theaters around the country and around the world is a calculated gamble that whatever revenue may be lost to the house will be more than offset by bringing new subscribers and especially younger people into the fold of an aging and predominantly white and middle-class opera-going public. It may not be too much of an exaggeration to say that the future of opera as a living art form may hinge at least in part on the success or failure of such efforts to expand the base for opera in general as well as for the Metropolitan Opera in particular.

For more information about the 2009-2010 season, go to:
http://www.metoperafamily.org

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