THE MET

Considering all the productions in the Met’s repertoire that have been conceived (or, perhaps more justly, concocted) by directors from other media who don’t seem to understand or like opera, Mark Morris is a gem. So is his concept for Gluck’s ORFEO ED EURIDICE, the myth of a man who is permitted to go to the land of the dead to retrieve his beloved wife, which was seen in a revival that opened the other night with countertenor Anthony Roth Costanzo and soprano Ying Fang in the title roles....

Opera Saratoga's 2024 Gala, themed 'Season of Winners,' will be held at the historic Canfield Casino in Saratoga Springs on June 9, 2024. ...

When I first heard Kevin Puts’s gorgeous, melodic score for THE HOURS back in 2022, I was blown away, thinking it was almost too good to be true. Could it be a classic? I wanted to hear it again, though not too soon, to give it a chance to settle in its own skin. Lucky us—lucky me—that the Met brought it back so quickly. It reminded me that first impressions are sometimes on the mark. ...

Watch excerpts from The Met Opera's El Niño, running through May 17th. In these videos, the chorus sings 'For With God No Thing Shall Be Impossible,' from Part I and 'In the Day of the Great Slaughter' from Part II during the final dress rehearsal....

Those of us who keep an eye on the comings and goings of singers at major opera houses around the world, have known that Friday’s debutant, Lithuanian soprano Asmik Grigorian, was going to be one to watch. And it was. No worries about whether her voice would translate from Europe’s smaller houses to the Met’s enormous hall: Grigorian may have been singing Puccini’s Cio-Cio-San/Madama Butterfly this time around, but she’s a well-schooled Lady Macbeth and Turandot as well, bringing a notably large...

Rialto Theatre will preent a live broadcast of the Metropolitan Opera's production of Puccini's Madama Butterfly on Saturday, May 11, 2024, at 19:55. ...

It’s a big season at the Met for tenor Jonathan Tetelman—born in Chile, raised in New Jersey—and he’s taking every advantage of it. He’s come to town with a reputation as a Puccini specialist (not that there’s anything wrong with that). How does he feel about that? “Well, I basically built my voice on Puccini repertoire. I’ve taken it as a gift because he’s a great writer for my voice.” His debut at the Met in March was in LA RONDINE but he’s looking forward to showing off more of his dramatic ...

Back in December, I saw the chamber version of John Adams’s EL NINO—dubbed EL NINO: NATIVITY RECONSIDERED—at the Cathedral of St. John the Divine. Pared down to its essence, it was wonderful, starred two of the singers who made their debuts in the premiere at the Met, soprano Julia Bullock and bass-baritone Davone Tines plus countertenor Anthony Roth Costanzo, who were at their best. It was a somber evening in a dramatic setting—a far cry from the oratorio/opera’s over-the-top welcome to Lincoln...

Soprano Kathleen Battle will return to the Met stage May 12 for a special performance of classical song and favorite spirituals. In an all new video, featuring an excerpt from Baroque Duet, Battle sings “My Heavenly Father Watches over Me.”...

The cast and creative team members of John Adams's El Niño at the Metropolitan Opera recently took part in two different panels to discuss the production, at The Apollo and The Guggenheim. Both panels are now available in full to watch online. Check out the videos here!...

Get a first look at all new photos The Met premiere of John Adams’s opera-oratorio EL NIŃO, which features soprano Julia Bullock, mezzo-soprano J’Nai Bridges, and bass-baritone Davóne Tines....

Get a first look at The Met premiere of John Adams’s opera-oratorio EL NIŃO, which features soprano Julia Bullock, mezzo-soprano J’Nai Bridges, and bass-baritone Davóne Tines in an all-new video from rehearsals....

Go inside rehearsals which are now underway for The Met premiere of John Adams’s opera-oratorio EL NIŃO, which features soprano Julia Bullock, mezzo-soprano J’Nai Bridges, and bass-baritone Davóne Tines. ...

It was tough separating the opera from the event when FIRE SHUT UP IN MY BONES opened the first post-Covid pandemic season at the Met. Back then, in September 2021, FIRE made history as the first opera by a Black composer, Terence Blanchard with his librettist Kasi Lemmons (based on the book by Charles M. Blow), to make its way to the Met stage. This week, it returned to show that contemporary opera can have “legs” on the big stage of the company....

The first night of the Met’s revival of Puccini’s LA RONDINE (THE SWALLOW) was filled with surprises of one sort or another, under the baton of that smart conductor, Speranza Scappucci. She knows her way around Puccini and deserves to be heard more frequently at the house. The production had glamour through Art Deco-ish scenic design by Ezio Frigerio, with lighting by Duana Schuler and costumes by Franca Squarciapino....

Watch as the dancers of this season’s revival of Terence Blanchard’s hit opera rehearse the Act III step dance with co-director and choreographer Camille A. Brown....

No matter how many “star” performances the Met manages to muster in the course of a season, there’s nothing quite as exciting as the Laffont Grand Finals Concert—formerly known as the Met’s National Auditions Finals—which took place this past Sunday afternoon for its 70th season, when we got to hear up-and-comers who might have knocked our socks off at the concert itself or could at some time in the future....

Go inside rehearsals for The Met's return of Puccini’s passionate love story, which features soprano Angel Blue as Magda and tenor Jonathan Tetelman as Ruggero....

The Met has announced the winners of the 2024 Metropolitan Opera Eric and Dominique Laffont Competition. Learn more about the winners here!...

It’s hard to compete with a dazzling concert hall like Barcelona’s Palau de la Musica Catalana—designed by Lluís Domènech i Montaner, one of Antonio Gaudi’s contemporaries in the modernista style. Or, with the famed Catalan (yes, not Spanish) diva Victoria de los Angeles, a Met favorite, whose centenary was being celebrated. Nonetheless, Albanian soprano Ermonela Jaho did quite impressively in her house debut at the Palau with the Franz Schubert Filharmonia under Tomas Grau....

While I’ve admired soprano Nadine Sierra’s before, she seemed to reach a whole new level with her glorious turn as Juliette in the season’s first performance of Gounod’s ROMEO ET JULIETTE at the Met the other night. She was vivid and a delight to watch as she inhabited the teenaged heroine of the piece. Perhaps it was her stage partner, French tenor Benjamin Bernheim, who egged her on to such heights, with his nuanced singing and boyish demeanor....

Brian Jagde sings an excerpt from Don Alvaro’s Act III aria in a recent performance of La Forza del Destino at the Metropolitan Opera....

Watch video footage from Bartlett Sher's production of Gounod's Roméo et Juliette, as it returns to the Met stage for seven performances, with an all-star cast of artists making their Met role debuts....

Composers can’t seem to keep away from the Orpheus story. Why not? It’s a juicy one, drawing on the Greek myth about a man who tries to use the power of music to rescue his beloved wife from Hades....

UN BALLO IN MASCHERA—A MASKED BALL—certainly makes for a juicy opera, on paper at least. It has a plot filled with passion, jealousy and conspiracies, and a score by Giuseppe Verdi that has some of his most memorable music, including a great duet, plus unforgettable arias for soprano, tenor and baritone, and some first-rate music for secondary characters (Ulrica the fortune teller and Oscar the pants-role page) and chorus. The production at Barcelona’s gorgeous Grand Liceu Theatre didn’t stint o...