Rossini: Semiramide

Director David McVicar’s new production brings opera’s favorite double bill to new life, setting the two operas in the same Sicilian setting, separated by two generations. Marcelo Álvarez takes on the rare feat of singing both leading tenor roles. In Cavalleria, he is Turiddu, the young man who abandons Santuzza (Eva-Maria Westbroek) in his pursuit of the married Lola (Ginger Costa-Jackson)—and ends up being killed in a duel with her husband, Alfio (George Gagnidze). In Pagliacci, Álvarez is Canio, the leader of a traveling vaudeville troupe. Patricia Racette sings Nedda, his unfaithful young wife, whose plans to run away with her lover are foiled by her spurned admirer Tonio (George Gagnidze)—with equally tragic consequences. Met Principal Conductor Fabio Luisi is on the podium.

Radiant mezzo-soprano Susan Graham and dashing Italian tenor Marcello Giordani are unlucky lovers in La Damnation de Faust, Hector Berlioz’s classic take on dancing with the devil.

Valery Gergiev conducts Mariusz Trelinski’s thrilling new production of these rarely heard one-act operas. Anna Netrebko stars as the blind princess of the title in Tchaikovsky’s lyrical work, opposite Piotr Beczala as Vaudémont, the man who wins her love—and wakes her desire to be able to see. Nadja Michael and Mikhail Petrenko are Judith and Bluebeard in Bartók’s gripping psychological thriller about a woman discovering her new husband’s murderous past.

All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.

This telecast offers a rare opportunity to see the legendary Joan Sutherland in the role that first catapulted her to international stardom. She drove audiences wild by the way her opulent voice caressed the music’s long phrases and sprinted effortlessly through the fiendish runs, trills, embellishments and stratospheric high notes. One of the glories of the operatic world, her portrayal of Donizetti’s hapless heroine is a multifaceted and moving characterization. The incomparable tenor Alfredo Kraus is Edgardo, the man Lucia loves but cannot have. (Performance taped November 13, 1982. Broadcasted September 28, 1983.)

Philip Glass’ opera “Akhnaten”, premiered in Stuttgart in 1984, forms the third part of the portrait opera trilogy about personalities who have influenced the course of human history. The conclusion of the trilogy deals with the ancient Egyptian pharaoh Akhenaten, who attempted to establish a kind of monotheistic cult around the god Aton during his reign in the 14th century BC, but failed due to the resistance of the priesthood. The production presented here was undoubtedly one of the very great successes of the 2019/20 season at New York’s Metropolitan Opera, due not only to the outstanding cast of singers (led by countertenor Anthony Roth Costanzo) but also to Phelim McDermott’s imaginative staging, which captivates with sometimes breathtaking imagery.

Julie Taymor’s kaleidoscopic production returns to select cinemas this holiday season in an encore presentation of the company’s first-ever Live in HD transmission that includes tenor Matthew Polenzani, baritone Nathan Gunn, and bass René Pape in this abridged, English-language version of Mozart’s classic fable.

Christine Goerke has wowed audiences as Turandot, the icy princess at the heart of Puccini’s grand final masterpiece. In this performance from the 2019–20 Live in HD season, Goerke stars alongside tenor Yusif Eyvazov (as Calàf) and soprano Eleonora Buratto (as Liù) in Franco Zeffirelli’s classic staging, which dazzles with its opulent visions of mythic China. Met Music Director Yannick Nézet-Séguin is on the podium, drawing a vivid array of musical colors from the incomparable Met Orchestra and Chorus.

Massenet’s tale of passion, excess, and their consequences stars rising soprano Lisette Oropesa in the effervescent title role. Tenor Michael Fabiano is her ardent admirer, Chevalier des Grieux, with Maurizio Benini conducting Laurent Pelly’s enchanting production.

Ever since it opened the 2006–07 season, Anthony Minghella’s striking production of Madama Butterfly has been a Met classic. Drawing inspiration from traditional Japanese theater, Minghella’s staging retells this heartbreaking tale with brilliant stagecraft, bold colors, and bunraku puppetry. In this Live in HD performance from the fall of 2019, Chinese soprano Hui He stars as Cio-Cio-San, the young geisha who puts her trust in a visiting American naval officer, only to later be abandoned by him. In a feat of operatic heroics, tenor Bruce Sledge appears as the callous Pinkterton, stepping into the role on short notice to replace an ailing colleague. Pier Giorgio Morandi conducts one of opera’s most tragic masterpieces, leading a cast that also includes mezzo-soprano Elizabeth DeShong as Cio-Cio-San’s loyal companion, Suzuki, and Tony Award–winning baritone Paulo Szot as the U.S. consul Sharpless.

Just as a young woman is about to marry her sweetheart, she is discovered—by the entire village, to say nothing of her fiancé—asleep in the bedroom of a stranger. It takes the young man two acts to figure out that sleepwalking is to blame, and everything ends happily. Natalie Dessay as Amina and Juan Diego Flórez as Elvino deliver bel canto magic and vocal fireworks in Mary Zimmerman’s 2009 production. The Tony award-winning director transfers Bellini’s bucolic tale to a rehearsal room in contemporary New York, where an opera company rehearses La Sonnambula—and where the singers are truly in love with each other.

In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask

Diana Damrau and Vittorio Grigolo are opera’s classic lovers in Gounod’s lush Shakespeare adaptation. Director Bartlett Sher’s “brilliant and inspired new production … is a revelation” (Huffington Post), and has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Emmanuel Villaume conducts the sumptuous score.

The legendary Plácido Domingo brings another new baritone role to the Met under the baton of his longtime collaborator James Levine. Liudmyla Monastyrska is Abigaille, the warrior woman determined to rule empires, and Jamie Barton is the heroic Fenena. Dmitri Belosselskiy is the stentorian voice of the oppressed Hebrew people.

After the acclaimed Met premiere of Thomas Adès's "The Tempest" in 2012, the composer returned with another masterpiece, this time inspired by filmmaker Luis Buñuel's seminal surrealist classic "El Ángel Exterminador", during the 2017–18 season. As the opera opens, a group of elegant socialites gather for a lavish dinner party, but when it is time to leave for the night, no one is able to escape. Soon, their behavior becomes increasingly erratic and savage. The large ensemble cast tackles both the vocal and dramatic demands of Adès's opera with one riveting performance after another. Tom Cairns, who also penned the work's libretto, directs an engrossing and inventive production, using a towering wooden archway to trap the characters onstage. And Adès himself takes the podium to conduct the frenzied score, which features a host of unconventional instruments, including the eerie electronic ondes Martenot.