Subscription rates are based on student population and start "in the low thousands" per year, she said. Twenty-six schools have subscribed, and another 27 are participating in trials, offering access to more than 200,000 of students in the U.S. Peter Pears and John Shirley-Quirk in 'Death in Venice' by Benjamin Britten.Īnthony Crickmay/Metropolitan Opera Archives Students, he said, are arriving at rehearsals more familiar with the repertoire they are studying, and faculty listen to the recordings in their offices as they work. "It's like being given the keys to a marvelous private library," said Brian Zeger, artistic director of vocal arts at the Juilliard School, which helped the Met in beta-testing over the summer and is now a subscriber. The company sent pitch letters to music schools and music libraries over the summer and launched the student catalog in September.
The Met's foray into academia has sparked broad interest. The streaming service, launched in 2008, now has some 6,000 subscribers. The Met's general manager, said in an interview earlier this year. That's a kind of unique social-artistic experience," Opera fans, it turns out, have been far more excited by the communal experience of watching "Tosca" at the cinema than browsing a catalog of recordings on their computer or iPad. Together, the two square off in a pair of dazzling duets and deliver some of the opera’s most challenging arias, including Semiramide’s famous “Bel raggio lusinghier.” Bel canto specialist Maurizio Benini takes the podium to lead a cast that also stars tenor Javier Camarena as the ardent prince Idreno, bass Ildar Abdrazakov as the scheming Assur, and bass Ryan Speedo Green as the stern high priest Oroe.Placido Domingo in Jeremy Sams's 'The Enchanted Island.' Soprano Angela Meade is the fierce title monarch, whose quest for power comes to a halt with the discovery that the object of her affection, the warrior Arsace-sung by mezzo-soprano Elizabeth DeShong-may actually be her long-lost son. Set in ancient Babylon under the reign of the mythic Queen Semiramis, the opera features political scheming, mistaken identity, divine intervention, and bloodthirsty revenge-not to mention one virtuosic vocal display after another.
A rarely performed bel canto gem, Rossini’s Semiramide returned to the Met for the first time in nearly 25 years during the 2017–18 season.
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