Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.”
In Imperial Rome led by Crassus, Spartacus and his wife Phrygia are reduced to slavery and are separated by slave dealers.
The ancient Greek myth of Orpheus, who attempts to harness the power of music to rescue his beloved Eurydice from the underworld, has inspired composers since opera’s earliest days.
On Christmas Eve, Marie and her whole family are gathered around the tree in celebration of the holiday.
In this New Year’s Day performance, Laurent Pelly’s storybook staging of Massenet’s Cendrillon, a hit of the 2017–18 season, is presented with an all-new English translation in an abridged 90-minute adaptation, with mezzo-soprano Isabel Leonard as its rags-to-riches princess.
Emeralds for the elegance and sophistication of Paris, rubies for the speed and modernity of New York, and diamonds for an imperial St. Petersburg.
Bartlett Sher’s bold new take on Verdi’s timeless tragedy arrives in cinemas on January 29.
Lured to the banks of a mysterious lake by his alter-ego, the Evil Genius, Prince Siegfried encounters the most beautiful swan Odette and swears his love to her.
The exhilarating soprano Lise Davidsen makes her Live in HD debut in one of her signature roles, the mythological Greek heroine of Strauss’s enchanting masterpiece.
For the first time in company history, the Met presents the original five-act French version of Verdi’s epic opera of doomed love among royalty, set against the backdrop of the Spanish Inquisition.
While traveling in Egypt, Lord Wilson is caught in a sandstorm and finds refuge in the nearest pyramid where Aspicia, the daughter of one of Egypt’s most powerful pharaohs, lies entombed.
Superstar Anna Netrebko makes her long-awaited Met role debut as Puccini’s icy princess—seen live in cinemas on May 7.
On May 21, soprano Nadine Sierra takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Lucia di Lammermoor, in an electrifying new staging by in-demand Australian theater and film director Simon Stone, conducted by Riccardo Frizza.
When Australian composer Brett Dean’s Hamlet had its world premiere at the Glyndebourne Festival in 2017, The Guardian declared, “New opera doesn’t often get to sound this good … Shakespeare offers a gauntlet to composers that shouldn’t always be picked up, but Dean’s Hamlet rises to the challenge.”