THE METROPOLITAN OPERA

Director Gregory Keller kept things humming along--and the audience was ready to hum along with them...at least, when they weren't sobbing.

— Broadway World

CRITIC’S PICK for November 2021

-- The New York Times

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Conductor: Eun Sun Kim / Carlo Rizzi

Production: Franco Zeffirelli

Set designer: Franco Zeffirelli

Costume designer: Peter J. Hall

Lighting designer: Gil Wechsler

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Mimì: Anita Hartig / Maria Agresta

Rodolfo: Charles Castronovo

Musetta: Federica Lombardi / Gabriella Reyes

Marcello: Artur Rucinski / Joo Won Kang / Lucas Meachem

Schaunard: Alexander Birch Elliot

Colline: Nicholas Brownlee / Ryan Speedo Green / Peter Kellner

Benoit/Alcindoro: .Donald Maxwell

Parpignol: Marco Jordao / Gregory Warren

Sergeant: Jonathan Scott / Jonathan Scott

Officer: Yohan Yi / Ned Hanlon

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November 9, 13, 17, 20, 29

December 3, 2021

January 9, 13, 18, 22 2022

THE METROPOLITAN OPERA

That was my takeaway. This act is the core of the opera, when the lovers Mimì and Rodolfo (the beguiling soprano Ailyn Pérez and the robust tenor Matthew Polenzani), agree to stop quarreling and remain together at least until spring comes, though this is a stopgap: Rodolfo, knowing that Mimì is gravely ill, feels helpless and panicked. The falling snowflakes and dusky background still suggest a hazy dawn in winter. But on Friday you could see the expressions on the faces of the singers, and their voices came through with bloom and directness. Scrims, an easy way to suggest murky atmosphere, are too often resorted to in opera productions. Good riddance to this one.

CRITIC’S PICK

—The New York Times

Although Franco Zeffirelli’s 1981 staging is the most-performed production in Met history, the cast (Ailyn Pérez, Matthew Polenzani, Olga Kulchynskaya, David Bizic, Andrey Zhilikovsky, Jongmin Park, and Arthur Woodley) was well-nigh perfect in singing and acting. They, under the expert conducting of Marco Armiliato and the outstanding stage direction of Gregory Keller, made me feel as I was seeing this opera and production for the first time when, in fact, I have seen it more than 100 times!

BEST REVIVAL OF 2019

—WQXR/Operavore

For this revival, Gregory Keller directed the production which saw it’s performers through a myriad of comedic, animated interactions without falling into slapstick humor….The evening’s performance had much to enjoy from the spirited cast of artists as their passion carried them through their numbers in ways that were often captivating to watch. Returning to the role in which made his Metropolitan Opera debut in 1996, Roberto Alagna powerfully showcased the fruits of his maturing since, making for an irresistible night of Puccini’s tragically-beautiful work.

—OperaWire

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Conductor: Marco Armiliato / Yannick Nézet-Séguin (NYE Gala)

Production: Franco Zeffirelli

Set designer: Franco Zeffirell

Costume designer: Peter J. Hall

Lighting designer: Gil Wechsler

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Mimì: Ailyn Pérez / Hei-Kyung Hong / Anna Netrebko (NYE) / Maria Agresta

Rodolfo: Matthew Polenzani / Roberto Alagna

Musetta: Olga Kulchysnka / Jacqueline Echols / Susanna Phillips

Marcello: David Bizic / Quinn Kelsey (NYE) / Artur Rucinski

Schaunard: Andrey Khiilkovsky / Davide Luciano (NYE) / Elliot Madore

Colline: Jongmin Park / Christian Van Horn (NYE)

Benoit/Alcindoro: .Arthur Woodley / Donald Maxwell

Parpignol: Marco Jordao

Sergeant: Jonathan Scott

Officer: Yohan Yi

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October 25, 30

November 5, 9, 17, 21 2019

New Year’s Eve Gala - December 31, 2019 — with Anna Netrebko and Matthew Polenzani

January 9, 12, 17, 21, 25 2020

THE METROPOLITAN OPERA

Mr. Kaufmann and Ms. Westbroek seemed to feed off each other during the crucial scene in Act II when Johnson arrives at Minnie’s cabin for a humble meal. Tension stirs below the surface of the music as a blizzard builds outside and a posse of miners led by Jack Rance, the town sheriff (the husky-voiced baritone Zeljko Lucic), closes in. But the real tension came from the hints of attraction and emotional need that Mr. Kaufmann and Ms. Westbroek conveyed, even while exchanging seemingly innocent phrases.

—The New York Times

Brilliant Direction. And that’s the key to this production and its brilliance. It’s undeniably opulent in its scope, but unlike something like the new “Samson et Dalila,” which tries to hide its lack of ideas behind glitz and glam, this one finds new and relevant meaning in older ideas.

By setting it in the world that Puccini and Belasco originally intended, revival director Gregory Keller (Giancarlo del Monaco was the original visionary behind the production) and his team can find new details that will allow themes to breathe and come to life. It’s a reminder that these works endure on their own for a reason. This ending is but one example, but the entire production is rife with directorial brilliance.

Even if we don’t analyze every element of the production, we feel and understand the meaning almost instantly, whether consciously or subconsciously. This is great directing. And it’s why “La Fanciulla del West” is the work to see at the Met right now.

There’s literally drama in every image, detail, musical phrase, and yes, breath.

--Opera Wire

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Conductor: Marco Armiliato

Production: Giancarlo Del Monaco

Designer: Michael Scott

Lighting designer: Gil Wechsler
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Minnie: Eva-Maria Westbroek

Dick Johnson: Yusif Eyvazov/Jonas Kaufmann

Jack Rance: Zeljko Lucic

Joe: Scott Scully

Bello: Richard Bernstein

Harry: Alok Kumar

Happy: Joseph Barron

Sid: Jeongcheol Cha

Sonora: Michael Todd Simpson

Trin: Eduardo Valdes

Jim Larkens: Adrian Timpau*

Nick: Carlo Bosi

Jake Wallace: Oren Gradus

Ashby: Matthew Rose

Post Rider: .Ian Koziara

Castro: Kidon Choi

Billy Jackrabbit: Philip Cokorinos

Wowkle: MaryAnn McCormick

* = debut
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October 4, 8, 12, 17, 20, 23, 27, 2018

THE METROPOLITAN OPERA

With the action even more intense, Beczala somehow made his presence even larger. And it was not through singing that was more histrionic but rather with an evenness that exuded his passion and despair.

The duets with Yoncheva in “Piangi, piangi il tuo dolore” and “Donna, per noi terrible” brought this story to an incredible climax and left the audience on the edge of its seats.

If there’s a reason why “Luisa Miller” isn’t performed more often beyond needing singers the caliber of Yoncheva and Beczala as the stars, it’s that this work can sometimes drag – particularly through Act three. No such worries exist with these singers in a run that will be an indelible memory for those fortunate to be present. This production figures to only get better over its duration.

—Opera Wire

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Conductor: Betrand de Billy

Production: Elijah Moshinsky

Designer: Santo Loquasto 

Lighting Designer: Duane Schuler

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Luisa: Sonya Yoncheva/Junnifer Rawley

Rodolfo: Piotr Beczala

Miller: Plácido Domingo

Count Walter: Alexander Vinogradov*

Wurm: Dmitry Belosselskiy

Federica: .Olesya Petrova

Laura: Rihab Chaieb 

Peasant: Patrick Miller

* = debut

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March 29, April 2, 6, 9, 14, 18, 21 2018

THE METROPOLITAN OPERA

Under the direction of Gregory Keller, the action onstage was free of affectation, allowing room for the romances of the two couples and the playful antics of the four roommates to show the humanity of the opera.

—New York Classical Review

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Conductor: Alexander Soddy

Production: Franco Zeffirelli

Set designer: Franco Zeffirell

Costume designer: Peter J. Hall

Lighting designer: Gil Wechsler

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Mimì: Angel Blue/Anita Hartig

Rodolfo: Dmytro Popov/Russell Thomas

Musetta: Brigitte Kele

Marcello: Lucas Meachem

Schaunard: Duncan Rock/Javier Array

Colline: David Soar

Benoit/Alcindoro: .Paul Plishka

Parpignol: Daniel Clark Smith

Sergeant: Yohan Yi

Officer: Ross Benoliel
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October 6, 9, 14, 19, 23, 27

November 1, 4 2017

THE METROPOLITAN OPERA

It is one of the defining features of live performance that it continues to surprise us. To be an informed listener and attend a concert or an opera without expectations is just about impossible—and those experiences that shatter expectations are often the most rewarding of all.

Patricia Racette provided just that kind of rare experience…

…Revivals like this one, featuring performances so fresh, don’t come around every week, or even every season—opera lovers would be wise to rush to the box office.

—New York Classical Review

Patricia Racette Descends into Insanity in Riveting Performance

Racette still has four more performances in the title role of Strauss’ early gem and it is highly recommended that anyone in the mood for an intense passionate night of great operatic singing, and especially acting, should make sure to catch one performance before the run is up.

—Opera Wire

In the Met’s current performances, Racette elegantly transforms Salome’s humiliation into one of glory. Her voice, more lyrical than that of a traditional Salome, allows her work to highlight the hubris that propels the character toward own her heart of darkness. Her dance of the seven veils especially impresses, in which the singer handles the demanding movement and resulting nudity with courage and skill.

This Salome burns bright. Perhaps too bright. Like Herod, one asks for the moon to darken, the torches to be put out. The glory of Salome is too much; we avert our eyes, as the curtain swoops down to block her from view.

--Parterre Box

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Conductor: Johannes Debus*

Production: Jürgen Flimm

Designer: Santo Loquasto

Lighting Design: James F. Ingalls

Choreographer.: Doug Varone

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Salome: Patricia Racette / Kirsten Chambers*

Herod: Gerhard Siegel

Herodias: Nancy Fabiola Herrera

Jochanaan: Zeljko Lucic

Narraboth: Kang Wang*

Page: .Carolyn Sproule

1st Jew: Allan Glassman

2nd Jew: Mark Schowalter

3rd Jew: Noah Baetge

4th Jew: Alex Richardson

5th Jew: David Crawford

1st Soldier: Nicholas Brownlee*

2nd Soldier: Richard Bernstein

Cappadocian: John Hancock

Slave: Kathryn Day

Executioner: Reginald Braithwaite

* = debut

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December 5, 9, 13, 17, 24, 28, 2016

THE METROPOLITAN OPERA

Last-minute cast changes happen routinely in opera, but seldom with the mix of anxiety and, in the end, triumph that took place on Thursday when the Metropolitan Opera revived its 1997 production of Berg’s “Wozzeck.”

The distinguished German baritone Matthias Goerne, an acclaimed Wozzeck, agreed on Thursday morning to step in that night for an ailing Thomas Hampson

That Mr. Goerne is a great Wozzeck was clear from his wrenching performance with the Philharmonic. At the Met on Thursday, he so completely inhabited the role — that of a delusional, miserably poor soldier living in a German garrison town around 1830 — and so dominated the stage, that you would have thought that he had spent weeks rehearsing in this stark, gripping production by Mark Lamos, with minimal props, black walls, looming shadows and blotches of bloody reds.

—The New York Times

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Conductor: James Levine

Production: Mark Lamos

Designer: Robert Israel

Lighting Designer: James F. Ingalls

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Wozzeck: Matthias Goerne/Thomas Hampson

Marie: Deborah Voigt

Captain: Peter Hoare

Drum Major: Simon O'Neill

Doctor: Clive Bayley*

Andres: Russell Thomas

Margret: Tamara Mumford

1st Apprentice: Richard Bernstein

2nd Apprentice: Mark Schowalter

Fool: Philippe Castagner

Soldier: Daniel Clark Smith

Townsman: Raymond Aparentado

Child: Anthony Reznikovsky*

Piano Solo: Bradley Moore*

* = debut

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March 6, 10, 13, 17, 22 2014

THE METROPOLITAN OPERA

Just one month into the 2012-13 season, the Met Opera has already succeeded in a multitude of successful revisits to older productions. Mozart's masterpiece Le Nozze di Figaro becomes the latest first-rate revival with an energetic cast, a vibrant production, winning direction, and insightful conducting.

--The Latinos Post

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Conductor: David Robertson

Production: Jonathan Miller

Set Designer: Peter J. Davison

Costume Designer: James Acheson

Lighting Designer” Mark McCullough

Choreographer: Terry John Bates

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Figaro: Ildar Abdrazakov

Susanna: Mojca Erdmann

Count Almaviva: Gerald Finley

Countess Almaviva: Maija Kovalevska

Cherubino: .Christine Schäfer

Dr. Bartolo: Maurizio Muraro

Marcellina: Margaret Lattimore

Don Basilio: John Graham-Hall*

Antonio: Philip Cokorinos

Barbarina: Ashley Emerson

Don Curzio: .Tony Stevenson

1st Bridesmaid: Lei Xu

2nd Bridesmaid: Irene Roberts*

Dan Saunders: Recitative Accompanist

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October 26, 29 (Cancelled - Hurricane Sandy)

November 3, 7, 10, 13, 17 2012

THE METROPOLITAN OPERA

It was, simply, one of the great nights of the season.

--Associated Press  

The staging remains effective. The strong cast was headed by the baritone Alan Held as Wozzeck, an oppressed, impoverished soldier. Mr. Held’s full-bodied sound combined with his haggard, pitiful look made his Wozzeck seem especially delusional and dangerous. As Marie, Wozzeck’s common-law wife and the mother of his little boy, the mezzo-soprano Waltraud Meier was magnificent.

--The New York Times

Gregory Keller’s direction deserves kudos for keeping the energy level high and staying out the way of Meier’s gritty grandeur.

--The New York Post

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Conductor: James Levine

Production: Mark Lamos

Sets & Costumes: Robert Israel

Lighting: James F. Ingalls

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Captain: Gerhard Siegel

Wozzeck: Alan Held

Andres: Russell Thomas*

Marie: Waltraud Meier

Doctor: Walter Fink

Drum Major: Stuart Skelton*

First Apprentice: Richard Bernstein

Second Apprentice: Mark Schowalter

Fool: Philippe Castagner *

Solider: Daniel Clark Smith

Townsman: Raymond Aparentado

Marie’s Child: John Albert

* = debut

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April 4, 9, 13, 16, 2011

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Photos: Cory Weaver (Met Opera), Jiulieta Cervantes (NYTimes)

THE METROPOLITAN OPERA

The return of this disturbing masterpiece to the Met Saturday afternoon for the first time since 2002 left the audience momentarily limp with emotion before it burst into a standing ovation.

--New York Post

Gregory Keller has restored [Lulu] faithfully, first as a comedy of bad manners, then as a morbid tragedy...★★★★★

--Financial Times

Passion and engagement ran high among those in attendance; seldom have I heard the work’s morbid humor elicit laughter so readily.

--The New York Times

The show was still, after all this time, a major success.

--Opera News

Criminally, Lulu runs for only two more performances...Go, and plan on a cold shower afterward.

--Time Out New York

James Levine’s absence during a run of Berg’s masterpiece warranted concern, but Fabio Luisi provided supple leadership with insights all own. In the title role, Marlis Petersen was riveting.

-- Rated “10 Best of 2010 in Classical and Opera” by Time Out New York

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Conductor: Fabio Luisi

Production: John Dexter

Sets & Costumes: Jocelyn Herbert

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Lulu: Marlis Petersen

Geschwitz: Anne Sofie von Otter

Dr. Schön/Jack the Ripper: James Morris

Alwa: Gary Lehman

Painter/African Prince: Michael Schade

Animal Trainer/Acrobat: Bradley Garvin

Schigolch: Gwynne Howell

Schoolboy/Page/Wardrobe Mistress: Ginger Costa-Jackson

Manservant/Marquis: Graham Clarke

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May 8, 12, 15 2010

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Photos: Beth Bergma

THE METROPOLITAN OPERA

The best news about the Met’s eleven-year-old Jonathan Miller production of Le Nozze di Figaro is that it has been restaged by Gregory Keller, more tautly spun, many elegant jokes or character moments inserted, several idiocies discarded and with plenty of room remaining for singers with a flair for it (such as Luca Pisaroni and Isabel Leonard) to invent comic business of their own.

--Opera Today

[The] staging of “Figaro” is handsome, intelligent and focused.

--Associated Press

The staging, now under the direction of Gregory Keller, gave weight to both the comic and tragic aspects of the opera, thankfully with a bit more emphasis on the comedic side of the scale...There is after all only so much new material one can squeeze out of a two hundred year old classic, but Mr Keller did well in delivering a fresh staging that was, more than anything, entertaining and engaging.

--Opera Britannia

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Conductor: Daniel Ettinger*/Fabio Luisi

Production: Jonathan Miller

Sets: Peter J. Davison

Costumes: James Acheson

Lighting: Mark McCullough

Choreographer: Terry John Bates

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Figaro: John Relyea / Luca Pisaroni

Susanna: Danielle de Niese / Lisette Oropesa

Countess Almaviva: Emma Bell* / Annette Dasch

Count Almvaviva: Bo Skovhus / Ludovic Tezier

Cherubino: Isabell Leonard

Dr. Bartolo: Maurizio Muraro / John Del Carlo

Marcellina: Wendy White / Ann Murray

Don Basilio: Philip Langridge / Greg Fedderly

Don Curzio: Tony Stevenson

Barbarina: Ashley Emerson*

Antonio: Patrick Carfizzi

Bridesmaids: Ann Carolyn Bird / Joyce El-Khoury

Jennifer Johnson*

Continuo: Dennis Giauque / Steven Eldridge,

harpsichord

David Heiss, cello

* = debut

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September 22, 26, October 1, 5, 9

November 23, 27, 30, December 4, 8, 12 2009

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Photos: Andrea Mohin (NYT)

Mary Altaffer (AP)

THE METROPOLITAN OPERA

An inspired and excellent cast, I could not imagine a more compelling production.

--The New York Times

It was one of the season's successes, an intense, scorching examination of nihilism.

--Associated Press

Gregory Keller's stage direction is honest, ungimmicky, and compelling.

--The New York Sun

The current cast functions as an inspired ensemble.

Expressionism has seldom seemed so urgent.

--Financial Times

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Conductor: James Levine

Production: Mark Lamos

Sets & Costumes: Robert Israel

Lighting: James F. Ingalls

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Captain: Graham Clark

Wozzeck: Alan Held

Andres: Eric Cutler

Marie: Katarina Dalayman

Doctor: Walter Fink*

Drum Major: Clifton Forbis

1st Apprentice: James Courtney

2nd Apprentice: Ron Naldi

Fool: Anthony Laciura

Solider: Raymond Aparentado

Townsman: Stephen Paynter

Marie’s Child: Jacob Wade

* = debut

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December 27, 31 2005

January 3, 6 2006

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Photos: Jack Vartoogian

THE METROPOLITAN OPERA

The...staging perfectly translated Berg’s instructions.

--Opera News

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Conductor: James Levine

Production: John Dexter

Set & Costume Design: Jocelyn Herbert

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Lulu: Christine Shäfer

Geschwitz: Hanna Schwarz

Dr. Schön/Jack the Ripper: James Courtney

Alwa: David Kuebler

Painter/African Prince: Clifton Forbis

Animal Trainer/Acrobat: Stephen West

Schigolch: Franz Mazura

Schoolboy/Page/Wardrobe Mistress: Katherine Goeldner*

Manservant/Marquis: Gary Rideout

* = debut

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April 12, 16, 20 2002

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Photos: Winnie Klotz

THE STORY OF A PRODUCTION THAT CHANGED THE METROPOLITAN OPERA

Robert Wilson’s staging of Wagner’s “Lohengrin” opened to a wall of boos in 1998. But it brought new theatrical possibilities to the Met

The New York Times

“For me it was a really seminal experience at the Met. It was kind of the intersection of what I wanted to do as a youth — wild, crazy avant-garde theater — and traditional opera. The Met was trying to be avant-garde, and I think they succeeded, and Bob really wanted to have a show at the Met. This production meant a lot to him, and it meant a lot to help him get his vision done on this grand scale, and have it come off so seamlessly. I think it was a crossroads for the Met, that yes, there’s an audience for this. I would take the 1 train home, and there would be people saying they loved it, people saying they hated it. How much of a reaction can you get out of an audience these days?”