At the Opera cast lists and synopses

For the month of July 2026

AT THE OPERA – WEDNESDAY 1 JULY

Premiere anniversaries, Part 7
Prepared and Presented by Camille Mercep

Wagner, R. Siegfried Acts I and II. Music drama in three acts. Libretto by the composer. First performed Bayreuth, 16 August 1876.

Wagner, R. Sigfried, Act I
[01:22:14]

Wagner, R. Siegfried, Act II
[01:14:12]

SIEGFRIED: Wolfgang Windgassen, ten
BRÜNNHILDE: Birgit Nilsson, sop
THE WANDERER: Hans Hotter, bass-bar
ALBERICH: Gustav Neidlinger, bass-bar
MIME: Gerhard Stolze, ten ;
ERDA: Marga Höffgen, cont
FAFNER: Kurt Böhme, bass
WOODBIRD: Joan Sutherland, sop
Vienna PO/Georg Solti.Total Time: 2:36:26
Decca 478 3707

The Nibelung, Mime, has brought up the young Siegfried in a forest. Siegfried learns that his mother had died giving birth to him, leaving the fragments of his father’s sword, Nothung. Siegfried demands that Mime reforge the sword but Mime fails. Wotan appears as a wanderer and challenges Mime to a test by questions. When Mime fails to answer correctly, his head is forfeit. Siegfried forges Nothung himself and Mime leads him to kill the giant Fafner, now a dragon, guarding the gold hoard. Mime plans to take the ring and poison Siegfried. Alberich waits near the cave hoping to regain the ring. The wanderer warns him that Mime is bringing Siegfried to kill the dragon. Siegfried blows his horn, which wakens Fafner and Siegfried kills him. After sucking blood from his hand, he is able to understand a woodbird, who tells him to take the ring and Tarnhelm from the hoard and warns him of Mime’s plan. Siegfried kills Mime. The woodbird tells him to seek a bride on a rock surrounded by fire.

Wagner, R. Heil dir, Sonne, from Siegfried Act III. Birgit Nilsson, sop; Wolfgang Windgassen, ten; Vienna PO/Georg Solti.
Decca 476 3707 [06:08]

AT THE OPERA – WEDNESDAY 8 JULY

Myths, legends and fantasies
Prepared and presented by Camille Mercep

Wagner, R. Forest murmurs, from Siegfried, Act II (1856-71; arr. Hutschenruyter). Seattle SO/Gerard Schwarz.
Naxos 8.572767 [07:57]

Wagner, R. Siegfried, Act III. Music drama in three acts. Libretto by the composer. First performed Bayreuth, 16 August 1876.

Wagner, R. Siegfried, Act III
[01:13:22]

Wotan the Wanderer tries to consult Erda, the earth goddess, but her wisdom is now lost. He tells her he has accepted that his power is at an end; he looks forward to the end of the gods. He says he will leave the struggle to Siegfried and Brunnhilde, his daughter by Erda, who will right all wrongs. Erda disappears into the earth. Siegfried appears on the path and insults his grandfather. He arouses Wotan’s anger and the Wanderer bars his way with his spear. Siegfried breaks the spear with his sword, Wotan withdraws and Siegfried passes through the ring of flames which surrounds Brünnhilde. He thinks she is a man but when he takes off her armour, he realises his error and feels fear for the first time. He kisses her awake. She greets him ecstatically and they proclaim their love.

Wagner, R. Prologue: Dawn and Siegfried’s Rhine journey, from Götterdämmerung (1869-74). Philadelphia O/Eugene Ormandy.
RCA Victrola VD87819 [13:03]

Wagner, R. Im Treibhaus, from Wesendonck Lieder (1857-58). Cheryl Studer, sop; Staatskapelle Dresden/Giuseppe Sinopoli.
DG 439 865-2 [06:16]

AT THE OPERA – WEDNESDAY 15 JULY

Tragic love, Part 1
Prepared and presented by Ian MacDonald

Verdi, G. La traviata. Opera in three acts. Libretto by Francesco Piave, after Alexandre Dumas fils La dame aux camélias. First performed Venice, 1853.

Verdi, G. La traviata Act I.
[32:33]

Verdi, G. La traviata Act II.
[01:04:24]

Verdi, G. La traviata Act III.
[34:55]

VIOLETTA: Joan Sutherland, sop
FLORA: Miti Truccato Pace, cont
ANNINA: Dora Carral, sop
ALFREDO: Carlo Bergonzi, ten
GIORGIO: Robert Merrill, bar
Maggio Musicale Fiorentino Ch & O/John Pritchard.
Decca 480 6039 [02:12:23]

Violetta is a leading light in the demi-monde of Paris. Alfredo persuades her to give up her life there and retire with him to a country cottage. Life is full of happiness for them until Alfredo’s father, Giorgio, tells Violetta that his son’s life is being ruined by their liaison, and his daughter’s chance of marriage is prejudiced. Violetta decides to sacrifice herself for Alfredo’s sake. She leaves the cottage secretly and returns to Paris, where she throws herself into a life of gaiety. Alfredo follows her to Paris, and, seeing her surrounded by a court of admirers, publicly insults her. Too late, he discovers the unselfish love that led her to leave him. He finds her ill with consumption and she dies in his arms.

AT THE OPERA – WEDNESDAY 22 JULY

In exotic places, Part 7
Prepared by Elaine Siversen
With Simon Target

Mozart, W. ZaÏde, K344 (1779). Opera buffa (Singspiel ) in two acts (1780; unfiinished). Libretto by Johann Andreas Schachiner. First performed France, 1866.

Mozart, W. Zaide Act I.
[32:28]

Mozart, W. Zaide Act II.
[43:34]

ZAÏDE: Lynne Dawson, sop
GOMATZ: Hans Peter Blochwitz, ten
ALLAZIM: Olaf Bär, bar
SOLIMAN: Christopher Purves, bass
Academy of Ancient Music/Paul Goodwin.
Harmonia Mundi HMU907205 [01:15:02]

In Sultan Soliman’s harem are two European slaves: Zaïde, a favourite of Soliman, and Gomatz. They fall in love and convince a court official, Allazim, to help them to escape. Their flight is foiled and Soliman vows revenge on all three. The opera breaks off after a quartet that seems to show that Solimon will be merciful because Allazim once saved the Sultan’s life. The libretto continues with all three pardoned and Zaide and Gomatz free to go to their homeland.

Mozart, W. L’oca del Cairo, KV422. Dramma giocosa in two acts (1783-84; unfinished). Libretto by Giovanni Battista Varesco. First stage performance Paris, 1867.

DON PIPPO: Dietrich Fischer-Dieskau, bass
CELIDORA: Edith Wiens, sop
BIONDELLO: Peter Schreier, ten
LAVINA: Pamela Coburn, sop
CALANDRINO: Peter Schreier, ten
Berlin Radio Choir; Carl Philipp Emanuel Bach CO/Peter Schreier
Philips 422 539-2

A Spanish nobleman, Don Pippo, has a daughter, Celidora, whom he keeps locked up in a tower on an island. Lavina, her companion, is imprisoned with her. Against her will, Celidora is betrothed to a nobleman but she loves Biondello. He loves her and makes a bet with Don Pippo that, if he can rescue Celidora from the tower within a year, he will be able to marry her. With the help of his friend, Calandrino (who loves Lavina), he is smuggled into the tower garden concealed inside a large mechanical goose, known as the Cairo goose. He leaps from the goose and succeeds in freeing Celidora and Lavina. The libretto concludes with Celidoro and Biondello being married as well as Lavina and Calandrino.

Mozart, W. Venga la morte … Non temer, amato bene, K490 (1786). Munich RSO/Peter Schreier, ten & dir.
Philips 464 880-2 [08:21]

Mozart, W. Principessa, a tuoi sguardi … Spiegarti non poss’ io, K489 (1786). Edith Mathis, sop; Peter Schreier, ten; Staatskapelle Dresden/Karl Böhm.
Philips 464 880-2 [06:48]

AT THE OPERA – WEDNESDAY 29 JULY

Opera oscura: Bad blood in Babylon
Prepared and Presented by Paul Roper

Catel, C-S. Sémiramis, tragédie tyrique in three acts. Libretto by Philippe Destriaux, after Voltaire. First performed Paris, 1802

SEMIRAMIS: Maria Riccarda Wesseling, mezz
ARZACE: Matthias Vidal, ten
AZEMA: Gabrielle Phillponet, sop
ASSUR: Nicolas Courfal, bass
OROES: Andrew Foster-Williams, bass
CEDAR: Nicolas Maire, ten
Le Concert Spiritual/Hervé Niquet.

Glossa GCD 921625 [01:45:21]

The Babylonians prepare to welcome home their army after their victory over the Scythians. Azéma rejoices that her lover, Arzace, will be returning to her. Looking distracted, Queen Sémiramis appears. The High Priest, Oroès, declares that the ghost of Ninus (whom Sémiramis arranged to be murdered by her lover, Assur) is seeking vengeance.
Arzace is to secretly meet Oroès, who knows that Arzace is Ninus’ son. Before this takes place, Azéma pledges her love to Arzace but warns that Assur wants to keep them apart in order to marry Azéma himself. Assur argues heatedly with Arzace, not realising Arzace’s real identity. Assur boasts that, years ago, he had both Ninus and his son killed. In a public square near Ninus’ place of burial, Sémiramis announces that she will marry, not Assur, but Arzace, not knowing his true identity. The spirit of Ninus appears and confirms that Arzace will reign but that first he has to visit Ninus’ tomb.
Assur prepares to kill Arzace and imprison Sémiramis. Azéma accuses Arzace of betrayal. He replies that he had no idea of Sémiramis’ intent to marry him. They part with their love restored and Arzace finally talks to Oroès, who reveals to Arzace his true identity. Sémiramis had commanded Assur to kill Ninus but not their son and had believed, ever since, that the gods were punishing her for Ninus’ murder. Arzace tells her that he now knows the back story; Sémiramis urges him to kill her. Before considering that, Arzace resolves to carry out his late father’s wish by entering his burial chamber. Sémiramis follows him where Assur and his associates lie in wait. In the darkness, Arzace stabs Sémiramis thinking she is Assur. She emerges from the darkness; he confesses; she publicly forgives him and dies. The chorus reflects that there are some crimes that the gods will never forgive.

Cherubini, L. Nemici sanza core; Fate, o numi, from Medea (1797; arr. Triebensee). Amphion Wind Octet.
Accent ACC24232 [04:40]