Name: Mahler: Symphony No. 8
Start: 2027-06-12T13:00:00
Location: Lincoln Center

Russell Thomas

Will Liverman

Yannick Nézet-Séguin

Elza van den Heever

Erin Morley

Ekaterina Gubanova

Angela Meade

Karen Cargill

Ryan Speedo Green

The Metropolitan Opera

The season opens with hair-raising drama and spectacular singing as two of opera’s most extraordinary artists star in Macbeth, Verdi’s thrilling take on the immortal Shakespearean tale of the scheming couple determined to seize power at any cost. Following past triumphs in many of Verdi’s signature baritone roles, Quinn Kelsey is the Scottish king haunted by the ghosts of his murderous ascent to the throne, opposite Lise Davidsen—the world’s reigning dramatic soprano—as the power-mad Lady Macbeth, whose ruinous ambition damns them both. Met Music Director Yannick Nézet-Séguin takes the podium for a penetrating production by Louisa Proske, a brilliant young director making waves around the world. Rounding out the all-star cast are tenor Freddie De Tommaso as the heroic Macduff and bass-baritone Ryan Speedo Green as Macbeth’s friend-turned-victim Banquo.

Macbeth

Lincoln Center

Overflowing with gorgeous melody and hilarious hijinks, Mozart’s satirical comedy of fickle young love is one of the composer’s most sublime creations. Phelim McDermott’s “colorful, inventive” (The New York Times) staging, inspired by Coney Island in the 1950s, sets the uproarious story at a boardwalk amusement park, where the two pairs of lovers at the heart of the tale find themselves on one emotional—and literal—thrill ride after another.

Così fan tutte

The world’s most popular opera, Puccini’s heartbreaking tragedy never fails to enrapture audiences with its poignant depiction of love and loss in bohemian Paris, all set to one of opera’s most romantic scores. Some of today’s most extraordinary talents inhabit the touchstone principal roles in Franco Zeffirelli’s classic staging, a perennial Met favorite for the past 45 years.

La Bohème

George Saunders’s Booker Prize–winning novel arrives at the Met in operatic form, with music by American composer Missy Mazzoli—hailed by The New Yorker as a “once-in-a-generation magician of the orchestra”—and libretto by Royce Vavrek. The supernatural story takes place in the “bardo,” a transitional plane between the end of this life and the beginning of the next, populated by those who resist all the powers of light and darkness and refuse to accept their fates. The action revolves around 11-year-old Willie, recently deceased son of Abraham Lincoln, whose grief-stricken visits to Willie’s tomb prevent his son’s spirit from moving on. Yannick Nézet-Séguin conducts an ensemble cast led by baritone Peter Mattei as Lincoln, alongside a superlative group of singers as the kaleidoscopic residents of the bardo, who band together to help Willie escape being trapped there for eternity—including soprano Christine Goerke, mezzo-soprano Stephanie Blythe, and countertenor Anthony Roth Costanzo. Director Lileana Blain-Cruz has created an otherworldly setting for this unique and uniquely American tale, which arrives at the Met in time for the nation’s 250th birthday celebrations.

Lincoln in the Bardo

Cherubini’s rarely performed take on classic Greek tragedy stars leading diva Sonya Yoncheva as the ultimate woman scorned, the sorceress whose betrayal drives her to an unthinkable act of revenge. Clarion tenor Michael Spyres is Giasone, Medea’s unfaithful Argonaut husband, in David McVicar’s “impressive and enjoyable” (The New York Times) setting of the timeless myth.

Medea

Searing passion, edge-of-your-seat action, and a career-defining title role: No opera is more dramatic than Puccini’s classic thriller. The ever-popular story of a jealous diva, the ardent painter who loves her, and the villainous chief of police who tears them asunder features several of opera’s biggest stars in a grand, immersive production by David McVicar that transports audiences to three picturesque locations in Rome. Music Director Yannick Nézet-Séguin and Principal Guest Conductor Daniele Rustioni each take the podium.

Tosca

After delivering one of the most stunning productions in recent Met memory with his 2025 take on Strauss’s Salome, director Claus Guth returns with a psychologically probing setting of Janáček’s haunting Jenůfa, extolled by The Telegraph at its London premiere as an “edgy, evocative staging that will surely become a classic.” Headlining the new staging is soprano Asmik Grigorian, whose dramatic intensity and powerhouse voice are perfectly suited to the demands of the title character, a young woman driven to despair by abandonment and betrayal. Legendary soprano Nina Stemme returns to the Met as the Kostelnička, Jenůfa’s stern stepmother, who commits an unspeakable act in a misguided attempt to save Jenůfa from ruin. Standout tenors Allan Clayton and Sean Panikkar also star as the impulsive Laca, who disfigures Jenůfa in a fit of jealousy, and his stepbrother Števa, who fathers her child before cruelly abandoning her. Maestro Tomáš Hanus makes his company debut on the podium.

Jenůfa

Hailed by The New York Times as “a fiercely intelligent and captivating singer,” Asmik Grigorian is in demand at all of the world’s leading opera houses. This season, she joins the select group of extraordinary artists who have given solo recitals on the Met stage. Just days after starring as the tortured heroine in the premiere of the new production of Janáček’s Jenůfa, the enthralling Lithuanian soprano performs a program of operatic highlights by Puccini, Dvořák, Verdi, and Strauss, accompanied by father-and-son piano duo Petras and Lukas Geniušas.

Asmik Grigorian in Concert

Lincoln Center for the Performing Arts

Sacred, scandalous, and irresistibly alluring, Saint-Saëns’s spectacular take on the biblical hero of legendary strength and the seductive Philistine whose beauty overpowers him returns in the Met’s larger-than-life production. Featuring a massive orchestra and chorus and some of opera’s most spellbinding tunes, this masterpiece of French grand opera is a feast for the eyes and ears, with an electrifying cast led by the formidable star pairing of mezzo-soprano Aigul Akhmetshina and tenor Clay Hilley, who makes a notable company debut.

Samson et Dalila

On the heels of her triumphant portrayal in the recent new production of Bellini’s I Puritani, Lisette Oropesa climbs another peak of the bel canto soprano repertoire, the doomed Scottish queen at the heart of Donizetti’s charged historical drama. Soprano Angela Meade is Elisabetta, the English monarch out for blood, with tenor René Barbera as Leicester, the nobleman they both love. Maestro Enrique Mazzola takes the podium for David McVicar’s striking production.

Maria Stuarda

A beloved New York holiday tradition, Mozart’s enchanting fable takes the stage in the Met’s abridged, English-language production by Julie Taymor—the Tony Award–winning director of Broadway’s The Lion King. Running under 90 minutes and dazzling audiences with vibrant sets, colorful costumes, and eye-popping puppetry, it’s the perfect show for the holidays and a delightful introduction to opera for audiences of all ages.

The Magic Flute—Holiday Presentation

On New Year’s Eve 2026, Puccini’s exhilarating drama of the Wild West returns in a new staging by celebrated British director Richard Jones, marking the company’s first new production of La Fanciulla del West in more than 30 years. Soprano Sondra Radvanovsky adds to her already remarkable Met repertoire, making her role debut as the larger-than-life Minnie, the tough tavern owner with a heart of gold who finds love when she least expects it. Tenor SeokJong Baek is the dashing bandit who rambles into the remote California mining town to steal her heart, opposite baritone Christopher Maltman as the lawman determined to deliver rough justice—and win Minnie for himself. Maestro Keri-Lynn Wilson takes the podium to conduct one of opera’s most action-packed adventures.

La Fanciulla del West

Don’t miss a rare opportunity to experience Mahler’s most ambitious masterpiece, performed with a magnificent array of musical forces that only the Met can muster. Music Director Yannick Nézet-Séguin takes the podium to lead the unsurpassed Met Orchestra, Chorus, and Children’s Chorus in their largest and mightiest incarnations, joined by a selection of opera’s biggest stars as vocal soloists. A grand monument of the choral and symphonic repertory, Mahler’s Eighth Symphony combines a sublime setting of a medieval hymn to the Holy Spirit with a dramatic rendering of the mystical final scene of Goethe’s Faust, melding into something transcendent and unique in all of music. “Try to imagine the whole universe beginning to ring and resound,” the composer wrote of the symphony he considered the culmination of his life’s work. “There are no longer human voices, but planets and suns revolving.”