by Erica Miner - May 03, 2026
The production, with its flamboyantly portrayed characters and colorful background, fulfilled the most crowd-pleasing elements of the work...
by Louise Penn - May 02, 2026
Ana Inés Jabares-Pita's set feels familiar and clearly defines time and place: The Departure remains in the 1960s; Making Arrangements moves into the 1970s, where a woman could choose to live independently; Four Sisters is in the materialistic 1980s, where 'greed is good'.
The changes of style in ...
by Richard Sasanow - April 28, 2026
In case we had to be reminded—after the Met’s recent Laffont Competition lineup, where three Juilliard singers were among the finalists—the Juilliard School is among the top sources of the next generation of opera singers (among many other categories, of course). Two of those singers were in t...
by Richard Sasanow - April 25, 2026
There was a time early in this century when conductor Lorin Maazel led Massenet’s opera THAIS, surprising audiences by picking up a violin during Act II to play the work’s famous “Meditation” himself—usually the realm of the concertmaster. At the NY Philharmonic’s performance of Poulenc�...
by Natalia Jarczynska - April 22, 2026
What can you do with a 90-year-old piece about a man madly in love, slowly slipping into a dream he has no desire to wake up from? Quite a lot, it turns out....
by Richard Sasanow - April 21, 2026
In the Met’s much-anticipated revival of Tchaikovsky’s EUGENE ONEGIN, almost anything that could go wrong, in fact, did, at Monday night’s premiere. How can something that looks good on paper turn into a mostly dull night at the Met is the definition of directorial misconduct. In size and scal...
by Alexandre DIACONU - April 20, 2026
Some evenings remind you why opera exists. LUCREZIA BORGIA at Opéra Royal de Wallonie-Liège did exactly that, in a space that feels fully aligned with what opera stands for, vocal mastery, ritual, and a visual world built to carry myth sized emotion....
by Gary Naylor - April 13, 2026
Mark Ravenhill takes over a legendary boxing venue for a show that packs plenty of punch...
by Richard Sasanow - April 07, 2026
I noticed that the Simon Stone production of Kaija Saariaho’s INNOCENCE, which had its local premiere last night at the Met, was a co-commission and -production of five other opera companies. It was not hard to tell why: It was challenging (the music included) at every turn—brutal, cruel, angry,...
by Ron Bierman - April 03, 2026
Carmen is the world’s third most performed opera. Its tale of the doomed love affair between an innocent young soldier and a beguiling young woman unconstrained by conventional beliefs was seen in more than 6,000 productions on five continents last year. This performance was in the opera’s origi...
Past Shows
One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall...
Tony Award–winning director of Broadway’s A View from the Bridge and West Side Story, Ivo van Hove makes a major Met debut with a new take on Mozart’s...
Six-time Grammy Award–winning composer Terence Blanchard brings his first opera to the Met after his Fire Shut Up in My Bones triumphantly premiered with the...
Baritone Michael Volle stars as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance, in Verdi’s glorious Shakespearean...
Wagner’s soaring masterpiece makes its triumphant return to the Met stage after 17 years. In a sequel to his revelatory production of Parsifal, director François...
A dream cast assembles for Strauss’s grand Viennese comedy. Soprano Lise Davidsen is the aging Marschallin, opposite mezzo-soprano Isabel Leonard as her lover Octavian and...
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