Opera on WNED Classical

Enjoy complete performances of world famous operas from Verdi, Puccini, Mozart and many more Saturdays at 1pm.

For many years, radio broadcasts from "The Metropolitan Opera" have been a Saturday tradition in many American households. Met Opera broadcasts are usually performed live from Lincoln Center in New York City and can be heard from December through May on WNED Classical.    

The WFMT Radio Network Opera series complements the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. From Milan to New York, Barcelona to Chicago, you'll have  a front-row seat to performances from some of the world’s greatest opera companies and performers.

From Milan to New York, Barcelona to Chicago, WFMT gives you a front-row seat to performances from some of the world’s greatest opera companies and performers. 

The 2024 WFMT Radio Network Opera Series, runs June 12 through November 30, 2024. This first portion of the season spans through September 7, and features thrilling performances from many of the great opera houses and theaters of Vienna, France, London, Italy, and more, with world-renowned artists. 

Broadcasts can be heard on WNED Classical at 1pm every Saturday except as noted.

Tune in at 94.5 FM in Buffalo or anywhere in the world our website's live player or WNED Classical app.

See what’s coming up below:

We will stay at Covent Garden for our next broadcast, Elektra by Richard Strauss. Aušrinė Stundytė takes the lead, with notable performances by Sara Jakubiak as Elektra’s sister Chrysothemis, and Karita Mattila sings the role of their mother in this intense drama. 

We hear a performance with a score memorably described by one critic as ‘the colour of blood’, Richard Strauss’s audacious Elektra, an adaptation of the iconic Greek tragedy has shocked and excited audiences since its 1909 premiere.  

Klytämnestra plotted with her lover Ägisth to murder her husband King Agamemnon. Her daughter Elektra sent her brother Orest away to protect him. She is now an outcast in her mother’s home, and her unkempt appearance and repeated honoring of her dead father provoke Klytämnestra’s anger. Elektra longs only for revenge. Her sister Chrysothemis is desperate to escape from the palace. Klytämnestra is wracked with guilt and Elektra tells her it will only be assuaged by the queen’s own violent death. News comes that Orest is dead. Then a mysterious man arrives at the court. Elektra recognizes the man as her brother, Orest. She is overjoyed. Orest begins to take his vengeance by brutally murdering his mother. Ägisth arrives, unaware of what is happening. Orest strikes him down too. Orest is acclaimed by the court and Elektra finally performs her dance of triumph, which has its own deadly conclusion. Grief turns into a violent quest for revenge. King Agamemnon has been murdered by his wife Klytämnestra and her lover, Ägisth. Princess Chrysothemis urges caution, but her sister, Elektra, cannot rest until she has killed her own mother. 

Composer :  Richard Strauss 

Libretto:  Hugo von Hofmannsthal 

Venue:   Royal Opera House, Covent Garden 

Presenting Company:  Royal Opera 

CAST: 

Elektra: Aušrinė Stundytė 

Chrysothemis: Sara Jakubiak 

Klytämnestra: Karita Mattila 

Orest: Łukasz Goliński 

Aegisth: Charles Workman 

Orest's tutor: Michael Mofidian 

First maid: Noa Beinart 

Second maid: Veena Akama-Makia 

Third maid: Gabrielė Kupšytė 

Fourth maid: Ella Taylor 

Fifth maid: Valentina Puskás 

An overseer: Lee Bisset 

A young servant: Michael Gibson 

An old servant: Jeremy White 

Confidante: Marianne Cotterill 

Trainbearer: Amanda Baldwin 

Ensemble:  Orchestra and Chorus of the Royal Opera House, Covent Garden 

Conductor:  Sir Antonio Pappano 

The opulent Palais Garnier in Paris is the location of our next broadcast, where we hear Médée by 18th-century composer Marc-Antoine Charpentier. This opera delves into the dark and tragic tale of Médée, portrayed by Lea Desandre, who uses her sorceress powers in vengeful acts against her unfaithful lover, Jason, played by Reinoud Van Mechelen. Conducted by William Christie, this production from Opéra de Paris offers a riveting exploration of love, betrayal, and revenge, weaving a powerful emotional tapestry that is both captivating and heart-wrenching. Director David McVicar transposes the action to the Second World War, thus reinforcing the heroine’s tragic character. 

Possibly mythology’s most unfathomable character: Médée, the sorceress, betrayed by her husband Jason, takes revenge by offering the latter’s lover a poisoned dress and then killing her own children. Such a destiny, so often portrayed in the arts, could not but be embodied at the Opera. 

Composer : Marc-Antoine Charpentier 

Libretto: Thomas Corneille 

Venue: Opéra Garnier, Paris 

Presenting Company: Opéra de Paris 

CAST: 

Médée: Lea Desandre 

Jason Reinoud: Van Mechelen 

Créon: Laurent Naouri 

Créuse: Ana Vieira Leite 

Oronte: Gordon Bintner 

Nérine: Emmanuelle de Negri 

Cléone: Elodie Fonnard 

Arcas: Lisandro Abadie 

Amour (Love): William Christie 

Ensemble: Les Arts Florissants; Opéra de Paris 

Conductor: Sir Antonio Pappano 

The Orchestre National de France presents a gripping production of the Damnation of Faust by Hector Berlioz to the Théâtre des Champs-Elysées. Berlioz explores Faust’s existential despair, his pact with the devil, and his tragic descent into hell in profound music that contemplates the human condition, blending elements of love, ambition, and the supernatural into an unforgettable spectacle. John Irvin sings the title role, with Stéphanie d’Oustrac as Marguerite. This performance features Chœur de Radio France and is under the direction of Cristian Măcelaru. 

Berlioz’s The Damnation of Faust undoubtedly belongs to that category of work that seems to be suspended in time. Berlioz took almost twenty years to complete this dramatic legend and visionary poem akin to both a grand opera (which it subsequently became) and a symphonic poem (a form in which the French musician’s mastery rivaled that of Strauss). Instantly captivated by Gérard de Nerval’s translation of Goethe’s Faust, Berlioz was haunted for many years by the idea of setting the legend to music. From the plains of Hungary to Faust’s study, and from the banks of the Elbe to Marguerite’s bedchamber, this work is a major example of the Romantic aesthetic.  

Composer: Hector Berlioz  

Libretto: Hector Berlioz, Almire Gandonnière, Gérard de Nerval  

Venue: Théâtre des Champs-Elysées, Paris  

Presenting Company: Orchestre National de France  

CAST:  

Marguerite: Stéphanie d'Oustrac  

Faust: John Irvin  

Brander: Frédéric Caton  

Méphistophélès: Paul Gay and Claudine Margely, soprano  

Ensemble: Chœur de Radio France and Orchestre National de France  

Conductor: Cristian Măcelaru 

Don Carlo returns to the Teatro alla Scala in a big production that reflects the dual nature of historical drama and romantic manifesto of Schiller’s original, highlighting the extraordinary artists and craftsmen working in the Theatre’s workshops. A unique stage set is transformed without interrupting the unfolding of the action in the different spaces provided by the libretto thanks to the spectacular alternation of colossal scenic elements. 

Verdi proposes the themes dear to him of the freedom of feelings, the difficult relationship between fathers and sons, and the liberation of oppressed people against the backdrop of the conflict between temporal and religious power. 

The opera will be conducted by the Music Director Riccardo Chailly on the podium of the Teatro alla Scala Orchestra with a cast that features Francesco Meli as Don Carlo, Anna Netrebko as Elisabetta di Valois, Michele Pertusi as Filippo II, Elīna Garanča as Principessa d’Eboli, Luca Salsi as Marchese di Posa and Ain Anger as Grande Inquisitore. An equally important protagonist is the Teatro alla Scala Choir directed by Alberto Malazzi. 

Composer: Giuseppe Verdi  

Libretto: Joseph Méry, Camille du Locle  

Venue: Teatro alla Scala, Italy (Milan)  

Presenting Company: La Scala  

CAST:  

Don Carlo: Francesco Meli  

Elisabeth di Valois: Anna Netrebko  

Filippo II: Michele Pertusi  

Princess Eboli: Elīna Garanča  

Rodrigo: Luca Salsi  

Grand Inquisitor: Ain Anger  

A Monk: Jongmin Park  

Tebaldo: Elisa Verzier  

The Count of Lerma: Jinxu Xiahou  

A Voice from Heaven: Rosalia Cid  

Ensemble: La Scala Chorus and Orchestra  

Conductor: Riccardo Chailly 

Opéra Royal de Wallonie, Liège, presents Rusalka, a captivating fairy tale steeped in Slavic mythology. This performance is conducted by Giampaolo Bisanti and explores Rusalka’s tragic love for a human prince and her desperate quest for a soul. Corinne Winters sings the title role of the water nymph Rusalka, with Anton Rositskiy and Jana Kurucová completing the principal cast. This lyrical journey, composed by Antonin Dvořák, weaves a tale of love that resonates long after the curtain falls. 

The poet and playwright Jaroslav Kvapil was inspired by the German romantic story of La Motte-Fouque, the Ondine, which was very successful throughout Europe. The Little Mermaid, a famous fairy tale by Hans Christian Andersen, was the most famous illustration. Antonín Dvořak, the most famous Czech composer, was looking for a libretto for his new opera. Kvapil proposed Rusalka, which immediately seduced the composer. In the spring of 1901, the magnificent and moving work immediately met with triumphant success and today is one of the most performed operas. 

A large part of the work was composed during the summer, in the countryside. Not far from his home, the composer often strolled around a lake that fascinated him. There he found, in imagining the undine and all the aquatic mythology, the inspiration and the atmosphere of his sublime drama. 

If the famous “Chant a la Lune” has become one of the favorite arias of romantic lyric art, the entire opera is worth a visit, happily playing with a sublime orchestration and masterfully highlighting a vocalist particularly adapted to each character. 

Rusalka, a water nymph, has fallen in love with a prince and wishes to become human. The witch Ježibaba performs a spell that forces the water nymph to remain mute. Tired of her silence, the prince turns away from her and falls in love with a foreign princess. When the Prince tries to repent, Rusalka confesses the effects of the spell and drags him under the water. 

Composer: Antonín Dvořák  

Libretto: Jaroslav Kvapil  

Venue: Opéra Royal de Wallonie, Liège  

Presenting Company: Opéra Royal de Wallonie  

CAST:  

Rusalka: Corinne Winters  

Prince: Anton Rositskiy  

Foreign Princess: Jana Kurucová  

Vodník: Evgeny Stavinsky  

Ježibaba: Nino Surguladze  

The Gamekeeper: Jiří Rajniš  

Turnspit / Kitchen boy: Hongni Wu  

First Wood Sprite: Lucie Kaňková  

Second Wood Sprite: Kateřina Hebelková  

Third Wood Sprite: Sofia Janelidze  

Hunter: Alexander Marev 

Harmonium: Maddalena Altieri  

Ensemble: Orchestra and Chorus of the Opéra Royal de Wallonie  

Conductor: Giampaolo Bisanti 

Hercules Hall in Munich is the location of a stunning performance of Mozart’s Idomeneo with the Bavarian Radio Symphony Orchestra and Chorus. Andrew Staples in the demanding title role, Sabine Devieilhe and Magdalena Kožená as the touching passionate lovers Ilia and Idamante, and Elsa Dreisig as the jealous, desperate Elettra. 

“I have an indescribable desire to write an opera once again,” Mozart’s wish, expressed in 1777, was finally fulfilled in the fall of 1780 when he received a commission from Munich to write a grand opera for the upcoming carnival season. The excellence of the Munich orchestra, and the subject matter involving the conflict between divine law and human passion, between duty and love, inspired Mozart to write one of his most elaborate and innovative stage works. Idomeneo has long been one of conductor Simon Rattle’s favorite pieces.  Mozart’s first operatic masterpiece gives Rattle the opportunity to work intensively with the chorus and to further deepen his involvement with historical performance practice in Munich. 

Summary courtesy of Bavarian Radio Symphony Orchestra. 

Composer: Wolfgang Amadeus Mozart  

Libretto: Giambattista Varesco  

Venue: Hercules Hall, Residenz, Munich  

Presenting Company: Bavarian Radio Symphony Orchestra and Chorus  

CAST:  

Idomeneo: Andrew Staples  

Idamante: Magdalena Kožená  

Elettra: Elsa Dreisig  

Ilia: Sabine Devieilhe  

Arbace / High Priest of Neptune: Linard Vrielink  

Voice of Neptune: Tareq Nazmi  

Ensemble: Bavarian Radio Symphony Orchestra and Chorus  

Conductor: Sir Simon Rattle 

There are few operas, which from the very first bar endure such intense pressure, few in which the temperature swings from ice-cold calculation to overheating in mere seconds. And scarcely any in which private entanglement and personal tragedy are so interwoven with political attitudes in historical accuracy. Giacomo Puccini’s Tosca has electrified audiences since its world premiere. The shock wave emitted by the opera was so strong that decades later many reactions still tend to point to the bewilderment and overpowering of those affected rather than the qualities of the piece itself. We will hear the Bavarian State Orchestra and Chorus conducted by Aziz Shokhakimov. 

The story surrounds a love triangle involving the singer Floria Tosca, played by Eleonora Buratto, the painter Mario Cavaradossi portrayed by Charles Castronovo and the chief of police Baron Scarpia played by Ludovic Tézier. The artistic world of the protagonist couple, Tosca and Cavaradossi, is no coloristic ingredient here, but rather defines the profile of its characters – it justifies Tosca’s eccentricity, just as it does Cavaradossi’s liberality and also explains the singer’s pronounced self-confidence: The heroine of the stage becomes a heroine in real life. 

Composer: Giacomo Puccini  

Libretto: Luigi Illica; Giuseppe Giacosa  

Venue: Das Nationaltheater, München  

Presenting Company: Bavarian State Opera  

CAST:  

Floria Tosca: Eleonora Buratto  

Mario Cavaradossi: Charles Castronovo  

Baron Scarpia: Ludovic Tézier  

Cesare Angelotti: Milan Siljanov  

Sacristan: Martin Snell  

Spoletta: Tansel Akzeybek  

Sciarrone: Christian Rieger  

A Jailer: Paweł Horodyski  

Ensemble: Bavarian State Opera Orchestra and Chorus  

Conductor: Andrea Battistoni 

We hear another performance from this orchestra with a performance of The Queen of Spades on stage at The National Theater of Munich under the direction of Aziz Shokhakimov. This opera navigates the dark and obsessive tale of Hermann, performed by Brandon Jovanovich in a story of desire, gambling, and the supernatural. Asmik Grigorian and Roman Burdenko join in the performance of what some say is Tchaikovsky’s greatest work. 

Discover the secret, crack the code, get the key: What drives us to submit to the unknown, to forget what we originally felt and who we are? With The Queen of Spades, Alexander Pushkin presented a Russian variant of the Gothic novel in 1834. In it, his protagonist Hermann stares unblinkingly at the window, behind which Liza sits. While he tries to elicit the secret of the three cards from the Countess, whose ward Liza is, Liza mistakes his obsession for love. Pyotr I. Tchaikovsky stages the couple’s downfall all the more drastically in his opera, when, as the plot begins he has the possibility of a joyful life appear and allows the two to take the self-chosen path of estrangement and self-destruction into madness and death. 

Composer: Pyotr Ilyich Tchaikovsky  

Libretto: Modest Tchaikovsky  

Venue: Das Nationaltheater München  

Presenting Company: Bavarian State Opera  

CAST:  

Hermann: Brandon Jovanovich  

Count Tomsky: Roman Burdenko  

Prince Yeletsky: Boris Pinkhasovich  

Chekalinsky: Kevin Conners  

Surin: Bálint Szabó  

Chaplitsky: Tansel Akzeybek  

Narumov: Nikita Volkov  

Countess: Violeta Urmana  

Lisa: Asmik Grigorian  

Polina: Victoria Karkacheva  

Governess: Natalie Lewis  

Ensemble: Bavarian State Opera Chorus and Orchestra  

Conductor: Aziz Shokhakimov