Robert Lepage’s dreamlike production, with its thousands of twinkling LED lights stretching across the stage to represent the sea, encapsulates the mystic feeling of L’Amour de Loin, .. show full overview
Robert Lepage’s dreamlike production, with its thousands of twinkling LED lights stretching across the stage to represent the sea, encapsulates the mystic feeling of L’Amour de Loin, Saariaho’s haunting opera of distant love. Eric Owens is Jaufré Rudel, a troubadour in 12th century France who has become tired of his hedonistic life and longs for an idealized love. Enter the Pilgrim (Tamara Mumford) who tells him his perfect love does, in fact, exist, far across the sea. She is Clémence, Countess of Tripoli (Susanna Phillips). The magic of the characters’ inner lives as they explore the meaning of love, longing, life, and death is heightened by Saariaho’s hypnotic and bewitching score, conducted by Susanna Mälkki.
Legendary superstar Plácido Domingo and Met Music Director Emeritus James Levine continue their historic partnership in this performance of the opera that first made composer Giuseppe .. show full overview
Legendary superstar Plácido Domingo and Met Music Director Emeritus James Levine continue their historic partnership in this performance of the opera that first made composer Giuseppe Verdi famous. Domingo portrays Nabucco, the King of Babylon, who is supernaturally driven mad when he proclaims himself God, then restored to health when he repents. Liudmyla Monastyrska is the cruel and treacherous Abigaille, supposedly Nabucco’s oldest daughter but actually a slave, who seizes the crown and plots the death of her sister Fenena (Jamie Barton), who loves Ismaele (Russell Thomas), as does Abigaille. With Dmitry Belosselskiy as the High Priest of Jerusalem, Zaccaria.
Tony Award–winning director Bartlett Sher’s new staging of Gounod’s Roméo et Juliette updates the action to 18th-century Verona and conjures both the magic and heartbreak of this .. show full overview
Tony Award–winning director Bartlett Sher’s new staging of Gounod’s Roméo et Juliette updates the action to 18th-century Verona and conjures both the magic and heartbreak of this timeless love story. Tenor Vittorio Grigolo and soprano Diana Damrau enchanted audiences as Shakespeare’s star-crossed lovers, with Damrau displaying glittering coloratura virtuosity and Grigolo delivering passionate longing and a moving rendition of the famous aria “Ah! lève-toi, soleil!” On the podium, maestro Gianandrea Noseda draws a wealth of orchestral color from Gounod’s lush score.
Since her 2013 debut as Magda in La Rondine, Kristine Opolais has become familiar to Met audiences in the works of Giacomo Puccini. In 2016, the soprano’s performances as the title .. show full overview
Since her 2013 debut as Magda in La Rondine, Kristine Opolais has become familiar to Met audiences in the works of Giacomo Puccini. In 2016, the soprano’s performances as the title heroine of Dvořák’s Rusalka allowed her to show off another of her signature roles. In a new production by Mary Zimmerman, this classic tale of a water sprite yearning to become a human to find love starts as a whimsical fairytale but quickly develops into a heartbreaking tragedy. On the podium, Sir Mark Elder leads a stirring account of Dvořák’s score, drawing a rich palette of musical colors from the Met Orchestra. Tenor Brandon Jovanovich gives a virile performance as the infatuated Prince, alongside bass Eric Owens as Rusalka’s father, the Water Gnome, and Jamie Barton as the devilish sorceress Ježibaba.
La Traviata’s sumptuous melodies and timeless depiction of doomed love have made the work a favorite of generations of operagoers. In his approach to this classic drama, director Willy .. show full overview
La Traviata’s sumptuous melodies and timeless depiction of doomed love have made the work a favorite of generations of operagoers. In his approach to this classic drama, director Willy Decker sets the action on a nearly bare stage, focusing the audience’s full attention on the three main characters. As Violetta, the ailing courtesan desperate to escape her past, soprano Sonya Yoncheva offers a fearless and sympathetic performance from beginning to end. American tenor Michael Fabiano sings with ardent longing as her devoted lover Alfredo, delivering emotionally wrought phrases and ringing top notes. Thomas Hampson brings a burnished baritone to Germont, Alfredo’s protective father whose stern demands spell disaster for the young couple. On the podium, maestro Nicola Luisotti leads an electric performance of Verdi’s unforgettable score.
Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on .. show full overview
Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.
When Deborah Warner’s production of Eugene Onegin opened the Met season in 2013, soprano Anna Netrebko had only recently begun singing the role of Tatiana; however, when she returned to .. show full overview
When Deborah Warner’s production of Eugene Onegin opened the Met season in 2013, soprano Anna Netrebko had only recently begun singing the role of Tatiana; however, when she returned to the part at the Met a few years later, her dramatic approach, like that of the character herself, had grown over time. With a smoldering vocal performance, Netrebko embodies the nuanced aspects of Tatiana’s personality—growing from a girl in the blossom of youth into an elegant, cosmopolitan princess. Opposite her, Peter Mattei sings the title role, a nonplussed aristocrat who discovers the power of love too late, with a rich, supple baritone. As the ardent poet Lenski, bright-voiced tenor Alexey Dolgov offers a heartbreaking portrayal. Elena Maximova is Lenski’s carefree lover Olga, and bass Stefan Kocán delivers a moving performance as the aging Prince Gremin. Maestro Robin Ticciati leads the Met Orchestra and Chorus in a textured reading of Tchaikovsky’s beloved score.
Renée Fleming, the silver-voiced American soprano, sings her final performance as the elegant princess coming to grips with the persistent passage of time. Mezzo-soprano Elīna Garanča .. show full overview
Renée Fleming, the silver-voiced American soprano, sings her final performance as the elegant princess coming to grips with the persistent passage of time. Mezzo-soprano Elīna Garanča delivers a commanding portrayal as Octavian, the title “Knight of the Rose” and the Marschallin’s impetuous young lover, in Robert Carsen’s madcap new production—which sets the action in 1911, the year of the work’s premiere. As the plucky young heiress Sophie, Erin Morley sings with a radiantly beautiful soprano, while bass Günther Groissböck offers a larger-than-life portrayal of Baron Ochs auf Lerchenau, the outlandish nobleman lusting after every woman in sight. And tenor Matthew Polenzani excites with his cameo appearance as the Italian Singer in Act I.
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