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Kristine Opolais stars in the role that helped launch her international career, the mythical Rusalka, who sings the haunting "Song to the Moon." Mary Zimmerman brings her wondrous theatrical imagination to Dvořák's fairytale of love and longing, rejection and redemption. Brandon Jovanovich, Jamie Barton, Katarina Dalayman, and Eric Owens complete the all-star cast, and Mark Elder conducts.
In the depths of a lively lake, Rusalka, water nymph and daughter of the ruling water sprite, bemoans her fate. Her eye has been caught by a dashing prince, but being a nymph she cannot have him. Going against the wishes of her father, she consults with the witch Jezibaba, who teaches her a spell to become mortal. The only caveat; she will be mute and, therefore unable to express her love. If the Prince betrays her, they'll both be damned for eternity. Of course, she takes her chances, which throw her into an adventure of jealousy, exile, love and redemption that will change her forever more.
Mozart's first operatic masterpiece returns to the Met in the classic Jean-Pierre Ponnelle production, conducted by Music Director Emeritus James Levine. The superb ensemble includes Matthew Polenzani as the king torn by a rash vow; mezzo-soprano Alice Coote in the trouser role of his noble son Idamante; soprano Nadine Sierra as Ilia; and soprano Elza van den Heever as the volatile Elettra, who loves Idamante to the bounds of madness. When King Idomeneo is lost at sea in the aftermath of the Trojan war, he makes an impassioned plea to Neptune to save him, and in return he promises to sacrifice the first living soul he sees on his rescue. But it's an opera, and that means the first person he sees is his son Idamante. Torn between paternal love and responsibility to the vengeful god, he seeks to find a way out of his bargain…with predictably disatrious results!
In 12th century Aquitaine, Jaufre, Prince of Blayre and part time troubadour dreams of an unreachable love. Obsessed with the possibility of a far away soulmate, somewhere in the world, he broods and idealizes, much to the mirth of his friends who waste no time mocking the poet Prince. But one day his dreaming pays off, a traveling Pilgrim asserts that they know just the woman to fulfill his longing, Clemence, a young woman who lives across the sea in Tripoli. Finally justified, Jaufre wishes to meet her, at any cost. Once the Pilgrim has played matchmaker, he sets off on a dangerous journey that will take him over the ocean to finally be in her arms.
The dream cast of Renée Fleming as the Marschallin and Elīna Garanča as Octavian star in Strauss's grandest opera. In his new production, Robert Carsen, the director behind the Met's recent Falstaff, 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, in a staging that also stars Günther Groissböck as Baron Ochs. Sebastian Weigle conducts the sparklingly perfect score.
Concerning the older and alluring Marschallian, a grand princess who finds solace in the arms of her much younger lover Octavian until the entrance of her hot-blooded and churlish cousin Baron Ochs. Setting his sights on wealthy and beautiful merchant's daughter Sophie, he enlists the help of Octavian as his rose bearer. Of course, once they set eyes on each other, all is lost for both Marshchallian and Baron Ochs. The former accepts her fate elegantly, the latter, well, not so much…
Tristan und Isolde opens the Met season in a new production by Mariusz Treliński (the director responsible for last season's double bill of Iolanta and Bluebeard's Castle), and will be well served by a cast of outstanding Wagnerians: Nina Stemme as Isolde, Stuart Skelton as Tristan, Ekaterina Gubanova as Brangäne, and René Papeas King Marke, with Sir Simon Rattle conducting, in one of his rare appearances at the Met.
A tale as old as time, (or at least one thousand years) Tristan and Isolde has long been considered the ultimate tale of passionate, romantic love in forbidden circumstances. With its universal theme of all-consuming love and bitter-sweet tragedy – it fits perfectly into Wagner's repertoire of epics. This new staging from Mariusz Trelinski promises to capture the power and pain of this ancient love triangle, in a large scale production, that brings the action into modern times, beginning on a lavish passenger ship in the Irish sea.
When Diana Damrau and Vittorio Grigolo starred opposite each other in Manon at the Met in 2015, the New York Times said, "the temperature rises nearly to boiling every time Damrau and Grigolo are on stage together." Now they're back as opera's classic lovers, in Gounod's lush Shakespeare adaptation. The production, by director Bartlett Sher, has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Gianandrea Noseda conducts the sumptuous score. Two warring families in old Verona are ordered on pain of death by the Prince to put aside their differences and end the skirmishes for the sake of their city. However, the families, the Capulets and Montagues have other ideas. When the only son of Lord and Lady Montague, Romeo, spots the daughter of the Capulets, Juliet at a party they are instantly besotted with each other and vow not to let their families get in the way of true love.
Three charismatic singers, Simon Keenlyside, Ildar Abdrazakov, and Mariusz Kwiecien, share the role of the title hero, who goes to hell in a dazzling coup de théâtre. The ensemble of great Mozartean singers includes Isabel Leonard, Angela Meade, Matthew Polenzani, Marina Rebeka, Erwin Schrott, Ramón Vargas, and Rolando Villazón. Fabio Luisi and Plácido Domingo conduct.
This opera is remarkably timely given its setting in feudal Europe prior to the French Revolution, where crime committed by the rich and powerful go unpunished. Don Giovanni, a notorious lech and rapist, attempts to carry off the virginal Donna Anna against her will, and kills her elderly father in cold blood after he is caught. However, Giovanni escapes with his identity hidden by a mask, and Donna Anna is filled with a lust for vengeance against the masked attacker, and even spurns the advances of the kind Ottavio who truly cares for her.
Tchaikovsky's setting of Pushkin's timeless verse novel is presented on the Met stage in Deborah Warner's moving production, starring Anna Netrebko and Dmitri Hvorostovsky as Tatiana and Onegin. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.
The story follows the selfish hero of the title, Eugene Onegin and his lack of reciprocity with regards to an innocent and naive young girl named Tatiana. Tatiana falls in love with him at first sight and is heartbroken when Onegin states he cannot return her feelings. Out of boredom, the impulsive and facetious youth then starts a duel with his closest friend, one that can only end in death…
Sonya Yoncheva sings one of opera's most beloved heroines, the tragic courtesan Violetta, a role in which she triumphed on the Met stage in 2015, opposite Michael Fabiano as her lover, Alfredo, and Thomas Hampson as his father, Germont. Carmen Giannattasio sings later performances of the title role opposite Atalla Ayan, with the great Plácido Domingo as Germont. Nicola Luisotti conducts.
Violetta, a young and consumptive courtesan is exhausted after years of service, and wants nothing better than to relax and enjoy the time that she has left, free and footloose from men and worries. However, a chance meeting at a party she hosts, with the handsome yet naive Alfredo sees her question her existence and her loneliness without a lover to call her own. She encourages his love.
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.
A powerful and sprawling production that will take you far back in time to Babylon, where tensions rise between the Hebrews and the Babylonians. Nabucco (The legendary Placido Domingo) is King, but his days are numbered, at least according to his treacherous daughter Abigaille, who plans to over throw her father and expel the Israelites. But first she must dispose of her kidnapped sister, whose time in captivity has found her sympathetic and dedicated to restoring peace…