The Met celebrates the New Year with a vital new production of one of opera’s most enduringly popular and powerful works. Acclaimed English director Carrie Cracknell makes her Met debut, reinvigorating the classic story of deadly passion with a staging that moves the action to the modern day, amid a band of human traffickers.

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Carmen

Lincoln Center

Three extraordinary sopranos—Aleksandra Kurzak, Eleonora Buratto, and Asmik Grigorian (in her highly anticipated Met debut)—tackle the demanding role of Cio-Cio-San, the loyal geisha at the heart of Puccini’s devastating tragedy. Tenors Matthew Polenzani and Jonathan Tetelman co-star as the callous American naval officer Pinkerton, whose betrayal destroys her. Mezzo-sopranos Elizabeth DeShong and Eve Gigliotti share the role of the steadfast maid Suzuki, and baritone Davide Luciano and Lucas Meachem are the American consul Sharpless. Acclaimed maestro Xian Zhang makes her Met debut conducting Anthony Minghella’s vivid production.

Madama Butterfly

Terence Blanchard’s stirring drama returns following its landmark company premiere in 2021, with bass-baritone Ryan Speedo Green starring as Charles, a young man faced with a fateful decision. Soprano Latonia Moore reprises her heartbreaking portrayal as Charles’s mother, Billie, with rising soprano Brittany Renee doing triple duty as Charles’s love interest, Greta, as well as the embodiments of Loneliness and Destiny. James Robinson and Camille A. Brown’s gripping production includes what is surely the only step dance in opera. Evan Rogister conducts Blanchard’s score, which powerfully melds opera and jazz.

Fire Shut Up In My Bones

Eminent American composer John Adams returns to the Met after a decade-long hiatus for the company premiere of his acclaimed opera-oratorio, which incorporates sacred and secular texts in English, Spanish, and Latin, from biblical times to the present day, in an extraordinarily dramatic retelling of the Nativity. El Niño brings together three of contemporary opera’s fiercest champions, all of whom make highly anticipated company debuts: Marin Alsop, one of the great conductors of our time, who has led more than 200 new-music premieres; soprano Julia Bullock, a leading voice on and off stage; and pathbreaking bass-baritone Davóne Tines. Radiant mezzo-sopranos J’Nai Bridges and Daniela Mack take turns completing the principal trio. The moving, fully-staged new production also marks the Met debut of Lileana Blain-Cruz, resident director at Lincoln Center Theater, who received universal acclaim for her Tony-nominated 2022 production of The Skin of Our Teeth.

El Niño

Pulitzer Prize–winning composer Kevin Puts’s hit new opera, which played to sold-out audiences during its world-premiere production last season, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.

The Hours

Last seen at the Met in the title role of Philip Glass’s Akhnaten, countertenor Anthony Roth Costanzo stars as the mythic hero who ventures into the Underworld to rescue his beloved Euridice. Soprano Ying Fang is his ill-fated bride, with soprano Elena Villalón in her company debut as Amore, the god of love who sets Orfeo on his quest. Christian Curnyn makes his Met debut conducting Gluck’s sublime setting of the ancient tale, enlivened by exuberant choreography from the legendary Mark Morris and featuring members of his renowned dance group.

Orfeo ed Euridice

Two-time Tony Award–winning composer Jeanine Tesori’s powerful new opera Grounded, commissioned by the Met and based on librettist George Brant’s acclaimed play, wrestles with the ethical quandaries and psychological toll of 21st-century warfare. Mezzo-soprano Emily D’Angelo, one of opera’s most compelling young stars, portrays Jess, a hot-shot fighter pilot whose unplanned pregnancy takes her out of the cockpit and lands her in Las Vegas, operating a Reaper drone halfway around the world. As she struggles to adjust to this new way of doing battle, she fights to maintain her sanity, and her soul, as she is called to rain down death by remote control. Met Music Director Yannick Nézet-Séguin oversees the Met premiere of Tesori’s kaleidoscopic score and a cast that also features tenor Ben Bliss as the Wyoming rancher who becomes Jess’s husband. Michael Mayer’s high-tech staging, using a vast array of LED screens, presents a variety of perspectives on the action, including the drone’s predatory view from high above.

Grounded

Lincoln Center for the Performing Arts

An ensemble of leading lights takes the stage for Offenbach’s fantastical final work, headlined by tenor Benjamin Bernheim in the title role of the tormented poet. Hoffmann’s trio of lovers are sung by soprano Erin Morley as the mechanical doll Olympia, soprano Pretty Yende as the plagued diva Antonia, and mezzo-soprano Clémentine Margaine as the Venetian seductress Giulietta. Marco Armiliato conducts Bartlett Sher’s evocative production, which also features bass-baritone Christian Van Horn as the Four Villains and mezzo-soprano Vasilisa Berzhanskaya in an important company debut as Hoffmann’s friend Nicklausse.

Les Contes d’Hoffmann

Three thrilling leading ladies trade off as the volatile diva Floria Tosca. First, soprano Aleksandra Kurzak reprises her riveting portrayal of the title role, starring alongside tenor SeokJong Baek as her revolutionary lover, Cavaradossi, and baritone George Gagnidze as the sadistic chief of police Scarpia. Later in the season, the extraordinary Lise Davidsen sings Tosca for her first time at the Met, alongside tenor Freddie De Tommaso in his eagerly anticipated company debut and powerhouse baritone Quinn Kelsey. And in the winter, soprano Sondra Radvanovsky and tenor Brian Jagde reunite following their acclaimed 2021 performances of the lead pair, joining forces with legendary bass-baritone Bryn Terfel, who returns to the Met after more than a decade. Maestro Xian Zhang conducts.

Tosca

Verdi’s heartbreaking masterpiece returns, with reigning Verdi baritone Quinn Kelsey reprising his devastating portrayal of the hunchbacked court jester. Radiant soprano Nadine Sierra is his naïve daughter, Gilda, and tenor Stephen Costello is the rakish Duke of Mantua, with Maestro Pier Giorgio Morandi on the podium to conduct Bartlett Sher’s Weimar-inspired production. A second run of performances features the Met debut of rising tenor Pene Pati, alongside soprano Erin Morley and baritone Luca Salsi, conducted by Maurizio Benini.

Rigoletto

Argentinian composer Osvaldo Golijov’s Grammy Award–winning first opera dramatizes the life and work of poet-playwright Federico García Lorca, who was assassinated by Fascist forces at the start of the Spanish Civil War for his socialist politics and homosexuality. His story emerges through the memories of Catalan actress Margarita Xirgu, Lorca’s muse—sopranos Angel Blue and Gabriella Reyes—who reminisces to her student Nuria, portrayed by soprano Elena Villalón. Lorca himself makes a dreamlike appearance, sung as a trouser role by mezzo-soprano Daniela Mack, and flamenco singer Alfredo Tejada completes the principal cast as the Falangist politician Ramón Ruiz Alonso, who arranged Lorca’s execution. Combining features of both an opera and a passion, Ainadamar, conducted by Miguel Harth-Bedoya in his Met debut, crackles with the energy and rhythms of flamenco and rumba, as well as the violent backdrop of civil war, all of which springs forth on the Met stage in a vivid company-debut production by Brazilian director and choreographer Deborah Colker, renowned for her work with Cirque du Soleil.

Ainadamar

Verdi’s charged drama of family strife and forbidden love stars tenor Michael Fabiano as Manrico, the bold troubadour unwittingly at war with his own brother. Sopranos Rachel Willis-Sørensen and Angela Meade share the role of the noble Leonora, with mezzo-sopranos Jamie Barton and Olesya Petrova trading off as Manrico’s tormented mother, Azucena. Baritone Igor Golovatenko is the unbending Count di Luna, with bass-baritone Ryan Speedo Green as the soldier Ferrando. Italian conductor Daniele Callegari leads David McVicar’s Goya-inspired staging.

Il Trovatore

La Bohème

Met Music Director Yannick Nézet-Séguin takes the podium to lead Strauss’s grand mythological epic, a tour de force for orchestra and soloists alike. A spectacular trio of sopranos lead the ensemble cast, with Elza van den Heever as the otherworldly Empress, Lise Lindstrom as the Dyer’s Wife, and Nina Stemme as the Nurse. Following recent triumphs in Wagner’s Ring cycle and Die Meistersinger von Nürnberg, baritone Michael Volle is Barak, with tenor Russell Thomas as the Emperor and bass-baritone Ryan Speedo Green as the Spirit Messenger.

Die Frau ohne Schatten

A beloved New York holiday tradition, Mozart’s enchanting musical fairy tale returns in the Met’s abridged, English-language production by Julie Taymor—the Tony Award–winning director of Broadway’s The Lion King. With dazzling puppets and a colorful setting, the Met’s Magic Flute is one of the city’s ultimate seasonal sensations for family audiences.

The Magic Flute—Holiday Presentation

Soprano Angel Blue makes her long-awaited Met role debut as the Ethiopian princess torn between love and country, one of opera’s defining roles. Music Director Yannick Nézet-Séguin takes the podium for the New Year’s Eve premiere of Michael Mayer’s spectacular new staging, which brings audiences inside the towering pyramids and gilded tombs of ancient Egypt with intricate projections and dazzling animations. Mezzo-soprano Judit Kutasi, following her 2024 debut in Verdi’s La Forza del Destino, is Aida’s Egyptian rival Amneris, sharing the role with Elīna Garanča, who returns to the Met for the first time since 2020. Leading tenors Piotr Beczała and Brian Jagde alternate as the soldier Radamès, who completes the greatest love triangle in the repertory. The all-star cast also features baritones Quinn Kelsey and Amartuvshin Enkhbat and bass-baritone Eric Owens as Amonasro and basses Dmitry Belosselskiy, Alexander Vinogradov, and Morris Robinson as Ramfis. Christina Nilsson makes her Met debut in the title role in March, and Alexander Soddy shares conducting duties.

Aida

Following the haunting Met premiere of his first opera, Dead Man Walking, composer Jake Heggie returns to the company with his 2010 adaptation of Herman Melville’s sea-drenched, heaven-storming epic. A cast of standouts comes together on the decks of the Pequod, with tenor Brandon Jovanovich starring as the monomaniacal Captain Ahab, implacable in his pursuit of the white whale; tenor Stephen Costello as Greenhorn, the opera’s version of Ishmael; baritone Peter Mattei as the even-keeled first mate Starbuck; and bass-baritone Ryan Speedo Green as the Polynesian harpooneer Queequeg. The cast also features soprano Janai Brugger as Pip, tenor William Burden as Flask, and baritone Malcolm MacKenzie as Stubb. Maestro Karen Kamensek takes the podium for a stunning staging by Leonard Foglia that arrives at the Met newly enlarged and refined following acclaimed runs in Dallas, San Francisco, Los Angeles, and Washington, D.C.

Moby-Dick

Following a string of awe-inspiring Met performances, soprano Lise Davidsen stars as Leonore, who risks everything to save her husband from the clutches of tyranny. Tenor David Butt Philip is the political prisoner Florestan, sharing the stage with bass-baritone Tomasz Konieczny as the villainous Don Pizarro, veteran bass René Pape as the jailer Rocco, and soprano Ying Fang and tenor Magnus Dietrich, in his company debut, as the young Marzelline and Jaquino. Bass Stephen Milling sings the principled Don Fernando, and Susanna Mälkki conducts the Met’s striking production, which finds modern-day parallels in Beethoven’s stirring paean to freedom.

Fidelio

Conductor Joana Mallwitz makes her Met debut leading two extraordinary casts in Mozart’s comic masterpiece. Bass-baritones Michael Sumuel and Luca Pisaroni star as the clever valet Figaro, opposite sopranos Olga Kulchynska and Rosa Feola as his betrothed, the wily maid Susanna. Baritone Joshua Hopkins and bass-baritone Adam Plachetka alternate as the skirt-chasing Count, sopranos Federica Lombardi and Jacquelyn Stucker (in her Met debut) trade off as his anguished wife, and mezzo-sopranos Marianne Crebassa and Emily D’Angelo share the role of the adolescent page Cherubino.

Le Nozze di Figaro

Simon McBurney’s uproarious full-length German-language production of Mozart’s beloved fable—with its ingenious theatrical concoction of projections, puppetry, and special effects—returns to the Met stage following its celebrated 2023 premiere. Tenor Ben Bliss and soprano Golda Schultz are the noble lovers Tamino and Pamina, and baritone Thomas Oliemans repeats his animated portrayal of the outlandish bird catcher Papageno. Soprano Kathryn Lewek reprises her hair-raising turn as the Queen of the Night, Stephen Milling is the priest Sarastro, and Evan Rogister conducts.

Die Zauberflöte

Rossini’s effervescent comedy retakes the stage in Bartlett Sher’s madcap production. Two star mezzo-sopranos—Isabel Leonard and Aigul Akhmetshina—headline a winning ensemble as the feisty heroine, Rosina, alongside high-flying tenors Lawrence Brownlee and Jack Swanson, in his Met debut, as her secret beloved, Count Almaviva. Baritones Davide Luciano and Andrey Zhilikhovsky star as Figaro, the infamous barber of Seville, with baritone Nicola Alaimo and bass-baritone Peter Kálmán as Dr. Bartolo and bass Alexander Vinogradov as Don Basilio rounding out the principal cast. Giacomo Sagripanti conducts.

Il Barbiere di Siviglia

The Met’s Eric and Dominique Laffont Competition is a nationwide program designed to discover promising young opera singers and assist in their artistic and professional development. Each season, more than 1,300 applicants participate in a series of auditions leading up to the Grand Finals Concert—featuring the Met Orchestra—in which a small group of finalists compete for cash prizes and the chance to launch a major operatic career. Since the program’s inauguration more than 70 years ago, the competition has discovered generations of star singers, including Jessye Norman, Frederica von Stade, Renée Fleming, Denyce Graves, Stephanie Blythe, Sondra Radvanovsky, Lawrence Brownlee, Lisette Oropesa, Jamie Barton, Anthony Roth Costanzo, Nadine Sierra, and Ryan Speedo Green.

Laffont Grand Finals Concert

Music Director Yannick Nézet-Séguin conducts his first Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light. Headlining the new staging is soprano Elza van den Heever as the abused and unhinged antiheroine, who demands the head of Jochanaan, sung by celebrated baritone Peter Mattei. Tenor Gerhard Siegel is Salome’s lecherous stepfather, King Herod, with mezzo-soprano Michelle DeYoung as his wife, Herodias, and tenor Piotr Buszewski as Narraboth. Derrick Inouye conducts two performances in May.

Salome

The most recent opera by preeminent American composer John Adams—a glorious adaptation of Shakespeare’s immortal drama—has its Met premiere. Following her debut in the company premiere of Adams’s El Niño in 2024, soprano Julia Bullock stars as the irresistible Cleopatra, one of theater’s most complex and captivating characters, opposite bass-baritone Gerald Finley as the conflicted Antony. Adams himself takes the podium to conduct his lyrical and richly orchestrated score, leading a new staging by groundbreaking director Elkhanah Pulitzer that transports the story of troubled romance and political strife from ancient Rome to the Golden Age of Hollywood in the 1930s. Tenor Paul Appleby is Caesar, who goes to war with Antony, and mezzo-soprano Elizabeth DeShong is Caesar’s sister and Antony’s forsaken wife Octavia.

Antony and Cleopatra

Tchaikovsky’s macabre thriller, set against the backdrop of Tsarist Russia, is back in the Met’s atmospheric staging. Soprano Sonya Yoncheva makes her highly anticipated role debut as Lisa, the young woman who embarks on a deadly love affair with the gambling-obsessed officer Hermann, sung by tenor Brian Jagde, also in his role debut. Baritone Igor Golovatenko reprises his moving portrayal of Lisa’s fiancé, Prince Yeletsky, alongside mezzo-soprano Violeta Urmana as the spectral Countess and baritone Alexey Markov as Count Tomsky. Keri-Lynn Wilson conducts the sweeping score.



The Metropolitan Opera

Apr 8 - May 2, 2024

Fire Shut Up In My Bones

Dec 31, 2023 - May 25, 2024

Carmen

Jan 11 - May 11, 2024

Madama Butterfly

Apr 23 - May 17, 2024

El Niño

5 - 31 May, 2024

The Hours

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