2014-15 Met Season




2014-2015 SEASON



 TICKETS: $22 Adult / $20 Senior / $15 Student with ID






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The Merry Widow






The Merry Widow



January 18, 2015   Sunday at 12:55pm  Tickets



ENCORE: February 4, 2015  Wednesday at 6:30pm  Tickets




The great Renée Fleming stars as the beguiling femme fatale who captivates all Paris in Lehár’s enchanting operetta, seen in a new staging by Broadway virtuoso director and choreographer Susan Stroman (The Producers, Oklahoma!, Contact). Stroman and her design team of Julian Crouch (Satyagraha, The Enchanted Island) and costume designer William Ivey Long (Cinderella, Grey Gardens, Hairspray) have created an art-nouveau setting that climaxes with singing and dancing grisettes at the legendary Maxim’s. Nathan Gunn co-stars as Danilo and Kelli O’Hara is Valencienne. Andrew Davis conducts.


Libretto by Victor Léon and Leo Stein, based on the play L’Attaché d’Ambassade by Henri Meilhac

English translation by Jeremy Sams

World premiere: Theater an der Wien, Vienna, December 30, 1905


Live in HD transmission and radio broadcast

January 17, 2015



Act I

The Pontevedrian ambassador in Paris, Baron Mirko Zeta, is giving a ball at the embassy. His home country is nearly bankrupt and he hopes that their Parisian guests will help them raise the money they need. He’s pleased when he sees his young wife, Valencienne, flirting with Camille de Rosillon, a young Frenchman, assuming she’s trying to win French support for Pontevedro. In fact, Camille has declared his love for Valencienne and writes “I love you” on her fan. Zeta eagerly awaits the arrival of the guest of honor, Hanna Glawari, a wealthy Pontevedrian widow. He plans to get Danilo Danilovitch, a womanizing aristocrat and the embassy secretary, to marry her so that her millions will stay in Pontevedro. Hanna arrives and is showered with compliments by the Parisian men. Valencienne realizes she has lost her fan with Camille’s incriminating message and rushes out to look for it. Finally Danilo arrives, fresh from a night of partying at Maxim’s. He and Hanna talk, revealing that they were once in love, but that Hanna was considered too far beneath Danilo’s status for him to marry her. He tells her he’s not interested in marriage and will never say “I love you.” Meanwhile, Zeta’s chief of staff, Kromow, finds Valencienne’s fan and thinks it belongs to his wife, Olga. Zeta, wanting to spare Olga the scandal, convinces him it is Valencienne’s. He then meets with Danilo and orders him to marry Hanna for the good of Pontevedro. Danilo tells him he will keep all the Parisian men away from her, but will not marry her. When the ladies choice dance is announced, Hanna selects Danilo, and after some flirtatious bantering the two finally dance.


Act II

The following day, Hanna hosts a party at her villa. Danilo arrives late, and Zeta commands him to return to his mission of keeping the Parisian men from Hanna—particularly Camille. Danilo’s assistant, Njegus, reveals that Camille is already in love with a mystery woman. Zeta wants to know who she is in order to marry her off to Camille, leaving Hanna free for a Pontevedrian suitor. He believes the fan is the key to her identity and asks Danilo to find its owner. When Hanna comes across the fan and sees its inscription, she assumes it is a gift to her from Danilo, but he still won’t say “I love you” and she will not accept him until he does. Their dance is interrupted by Zeta, who is still trying to learn the identity of Camille’s secret lover. The men agree to meet in the pavilion to discuss the matter. Camille and Valencienne finally find the missing fan, and this time Valencienne writes “I am a respectable wife” on it. Observed by Njegus, they disappear into the pavilion. When Zeta arrives to meet Danilo, Njegus prevents him from entering the pavilion to protect Valencienne’s secret and instead sneaks Hanna in to take her place. Hanna emerges with Camille, announcing their engagement. A furious Danilo departs for Maxim’s, which Hanna takes as proof of his love.



Arriving at Maxim’s in search of Danilo, Camille and Valencienne sneak off to one of the private rooms. Zeta and the other Pontevedrians appear, and the grisettes—among them a dressed-up Valencienne—entertain the crowd. Eventually both Danilo and Hanna arrive. He forbids her to marry Camille. When she explains that she was merely safeguarding another woman’s reputation, he is delighted but still won’t declare his love. As the guests reassemble, Danilo announces that Hanna will not marry Camille, but he will not reveal the identity of Camille’s secret lover. Njegus produces the missing fan, which he found in the pavilion. Zeta finally recognizes it as his wife’s, declares himself divorced, and proposes to Hanna—who informs him that, according to her late husband’s will, she will lose her fortune if she remarries. At this, the other men lose interest in Hanna, except Danilo, who finally declares his love and asks Hanna to marry him. She accepts and amends her account of the will: upon remarrying her fortune will pass to her new husband. Valencienne returns and asks Zeta to read the other side of her fan—she is a respectable wife. With the couples united, the men are left to wonder about the mystery of women.








Les Contes d'Hoffman




Les Contes d'Hoffman



February 1, 2015   Sunday at 12:55pm  Tickets



ENCORE:  February 18, 2015  Wednesday at 6:30pm  Tickets


Intermission Content will include:
· Host soprano Debbie Voigt interviewing star tenor Vittorio Grigolo.
· Exclusive live interview with the Tony Award-winning director of Les Contes d’Hoffmann, Bartlett Sher.
· An explanation of the colorful Olympia scene by the head of the scenic department Doug Lebrecht and props master James Blumenfeld.
· A preview of the next transmission in the series, Iolanta/Bluebeard’s Castle, including an interview with soprano Anna Netrebko and tenor Piotr Beczala.




(The Tales of Hoffmann)

The magnetic tenor Vittorio Grigolo takes on the tortured poet and unwitting adventurer of the title of Offenbach’s operatic masterpiece, in the Met’s wild, kaleidoscopic production. Soprano Hibla Gerzmava faces the operatic hurdle of singing all three heroines—each an idealized embodiment of some aspect of Hoffmann’s desire. Thomas Hampson portrays the shadowy Four Villains, and Yves Abel conducts the sparkling score.



Libretto by Jules Barbier, based on the play by Jules Barbier and Michel Carré (based on stories by E.T.A. Hoffmann)

World premiere: Paris, Opéra Comique, February 10, 1881




Luther’s tavern in a German town. The poet Hoffmann is in love with Stella, the star singer of the opera. Lindorf, a rich counselor, also loves her and has intercepted a note she has written to Hoffmann. Lindorf is confident he will win her for himself. Entering with a group of students, Hoffmann sings a ballad about a disfigured dwarf named Kleinzach. During the song, his mind wanders to recollections of a beautiful woman. When Hoffmann recognizes Lindorf as his rival, the two men trade insults. Hoffmann’s Muse, who has assumed the guise of his friend Nicklausse, interrupts, but the encounter leaves the poet with a sense of impending disaster. He begins to tell the stories of his three past loves...


Act I

The eccentric inventor Spalanzani has created a mechanical doll named Olympia. Hoffmann, who thinks she is Spalanzani’s daughter, has fallen in love with her. Spalanzani’s former partner Coppélius sells Hoffmann a pair of magic glasses through which he alone perceives Olympia as human. When Coppélius demands his share of the profits the two inventors expect to make from the doll, Spalanzani gives him a worthless check.


Guests arrive and Olympia captivates the crowd with the performance of a dazzling aria, which is interrupted several times in order for the doll’s mechanism to be recharged. Oblivious to this while watching her through his glasses, Hoffmann is enchanted. He declares his love and the two dance. Olympia whirls faster and faster as her mechanism spins out of control. During the melee Hoffmann’s glasses are broken. Coppélius, having discovered that the check was worthless, returns in a fury. He grabs Olympia and tears her apart as the guests mock Hoffmann for falling in love with a machine.


Act II

Antonia sings a plaintive love song filled with memories of her dead mother, a famous singer. Her father, Crespel, has taken her away in the hopes of ending her affair with Hoffmann and begs her to give up singing: she has inherited her mother’s weak heart, and the effort will endanger her life. Hoffmann arrives and Antonia joins him in singing until she nearly faints. Crespel returns, alarmed by the arrival of the charlatan Dr. Miracle, who treated Crespel’s wife the day she died. The doctor claims he can cure Antonia but Crespel accuses him of killing his wife and forces him out. Hoffmann, overhearing their conversation, asks Antonia to give up singing and she reluctantly agrees. The moment he has left Miracle reappears, urging Antonia to sing. He conjures up the voice of her mother and claims she wants her daughter to relive the glory of her own fame. Antonia can’t resist. Her singing, accompanied by Miracle frantically playing the violin, becomes more and more feverish until she collapses. Miracle coldly pronounces her dead.



The Venetian courtesan Giulietta joins Nicklausse in a barcarole. A party is in progress, and Hoffmann mockingly praises the pleasures of the flesh. When Giulietta introduces him to her current lover, Schlémil, Nicklausse warns the poet against the courtesan’s charms. Hoffmann denies any interest in her. Having overheard them, the sinister Dapertutto produces a large diamond with which he will bribe Giulietta to steal Hoffmann’s reflection for him—just as she already has stolen Schlémil’s shadow. As Hoffmann is about to depart, Giulietta seduces him into confessing his love for her. Schlémil returns and accuses Giulietta of having left him for Hoffmann, who realizes with horror that he has lost his reflection. Schlémil challenges Hoffmann to a duel and is killed. Hoffmann takes the key to Giulietta’s boudoir from his dead rival but finds the room empty. Returning, he sees her leaving the palace in the arms of the dwarf Pitichinaccio.



Having finished his tales, all Hoffmann wants is to forget. Nicklausse declares that each story describes a different aspect of one woman: Stella. Arriving in the tavern after her performance, the singer finds Hoffmann drunk and leaves with Lindorf. Nicklausse resumes her appearance as the Muse and tells the poet to find consolation in his creative genius.













Tchaikovsky's            Bartók's

IOLANTA          Bluebeard's Castle



February 21, 2015  Saturday at 12:30pm  Tickets




On the heels of her triumphant Met performances in Eugene Onegin, soprano Anna Netrebko takes on another Tchaikovsky heroine in the first opera of this intriguing double bill, consisting of an enchanting fairy tale (Iolanta) followed by an erotic psychological thriller (Bluebeard’s Castle). Netrebko stars as the beautiful blind girl who experiences love for the first time in Iolanta, while Nadja Michael is the unwitting victim of the diabolical Bluebeard, played by Mikhail Petrenko. Both operas are directed by Mariusz Trelinski, who was inspired by classic noir films of the 1940s. Iolanta also stars Piotr Beczala, and Valery Gergiev conducts both operas.



 Libretto by Modest Tchaikovsky, based on the play King René’s Daughter by Henrik Hertz

World premiere: St. Petersburg, Mariinsky Theater, December 18, 1892

 Live in HD transmission and radio broadcast February 14, 2015


Iolanta is blind. She lives a secluded life and is treated like a doll. A long time ago her father, King René, hid her from the world and placed her in the care of simple people, Martha and Bertrand. His greatest concern is for his daughter never to find out she is blind. He also doesn’t want the news of Iolanta’s blindness to reach Robert, her future husband. Iolanta is convinced that eyes are only for crying. But she is becoming anxious and has some vague presentiments.

Alméric arrives at Iolanta’s dwelling, announcing a visit from the King and a famous Moorish physician. The doctor’s diagnosis is clear: Iolanta must be told of her disability before treatment can begin. René says no.


Robert and Vaudémont appear at Iolanta’s house. They are overawed—the place seems to hide a secret, danger, they feel threatened. They meet Iolanta, not knowing who she is. Robert doesn’t realize she is his betrothed, whom he doesn’t want to marry because he loves someone else. Vaudémont is enchanted with the girl while Robert is worried by this mysterious place. Enthralled with Iolanta’s beauty, Vaudémont asks her to give him a red rose as a keepsake. Iolanta hands him a white one, twice. Vaudémont realizes that she can’t see. Iolanta has no idea what it means to see, she isn’t aware what she is missing. King René catches Vaudémont talking to Iolanta and is furious with him for revealing the secret to her. With no will of her own, Iolanta doesn’t even know whether she wants to be able to see—she will do anything her father tells her. This only confirms the doctor’s words that without an inner desire, no change is possible. To awaken her desire to regain her sight, the King threatens that if the treatment fails Vaudémont will be killed. Iolanta is healed and her father consents to her marriage to Vaudémont. But regaining her sight doesn’t bring Iolanta the expected deliverance. Blinded by the world, she can’t believe that the people she loves look the way they do. Her love for Vaudémont and the wedding ceremony subdue her fears.



Bluebeard’s Castle

Libretto by Béla Bálazs, after a fairy tale by Charles Perrault

World premiere: Budapest, Royal Opera House, May 24, 1918

 Live in HD transmission and radio broadcast February 14, 2015


Judith has come to live with Bluebeard, having left her family home and her peaceful, ordered existence. Bluebeard’s secret mesmerizes her—she knows the terrifying rumors, she fears she may be on a road of no return, yet she decides to enter his home. The door closes. Judith confesses her love for Bluebeard, believing that it will change him and light up his gloomy home. She repeats her profession of love like a mantra as she demands that the doors to seven rooms be opened. The first one is a torture chamber, the second an armory. These rooms fill her with terror. The next doors conceal a treasury and a garden. Then Bluebeard shows his empire to Judith. She sees blood everywhere: on jewels, weapons, flowers. She doesn’t want to defer to Bluebeard who says, “Love me” and “Ask no questions.” Judith responds that she loves him and wants him to open up to her, reveal his inner self, uncover his fears. She demands that all the doors be opened. The sixth door, which conceals a sea of tears, is where Judith reaches the limit of knowledge. That leaves the seventh door. Behind it is a space beyond life, on the border of life and death. There are concealed Bluebeard’s previous wives. Passing through the seventh door, Judith joins them. She is made a part of Bluebeard’s space forever. The circle of her journey closes.






La Donna del Lago




La Donna del Lago



March 21, 2015  Saturday at 12:55pm  Tickets



Bel canto superstars Joyce DiDonato and Juan Diego Flórez join forces for this Rossini showcase of vocal virtuosity, set in the medieval Scottish highlands and based on a beloved novel by Sir Walter Scott. DiDonato is the “lady of the lake” of the title, and Flórez is the king who relentlessly pursues her, their vocal fireworks embellishing the romantic plot in this Met premiere production conducted by Michele Mariotti.


Libretto by Andrea Leone Tottola, based on the poem The Lady of the Lake by Walter Scoitt

Premiere: Teatro San Carlo, Naples, October 24, 1819

Live in HD transmission and radio broadcast March 14, 2015


 Act I

Loch Katrine, Stirlingshire, Scotland. Elena, the Lady of the Lake, makes her daily crossing while shepherds watch their flocks and men hunt in the woods. She sings of her love for Malcolm Groeme, but comes across King James, who has disguised himself as “Uberto,” hoping to meet the legendary beauty Elena. Believing the King to be a hunter who has lost his way, she offers him hospitality and they depart for her home, while the King’s men search for their disguised leader.


King James learns that Elena’s father is Duglas d’Angus, his former tutor, who has since joined the Highland Clan that is opposed to James’s rule. He also learns of Elena’s betrothal to Rodrigo di Dhu, the chief of the Highland Clan and enemy of the King, but his jealousy is assuaged by Elena’s lukewarm reaction to the prospect of her marriage. Malcolm, the suitor whom Elena loves, arrives shortly after James departs. Hidden, Malcolm must endure overhearing Duglas order his daughter to marry Rodrigo, as he commands. After Duglas has left, Malcolm and Elena pledge their love.


The Highland warriors gather to welcome their leader, Rodrigo, who introduces Elena as his future bride. Malcolm has now resolved to join the clan against the King, but his secret bond with Elena is perceived by Duglas and Rodrigo when they meet. When news arrives of an attack by the King’s army and the omen of a meteor passing in the sky, Rodrigo and his warriors depart for battle. Scotland is at war.


Act II

Still disguised as “Uberto,” James searches desperately for Elena, hoping to protect her from the coming bloodshed. When he finds her he once again declares his love, but she rejects his advances. He then gives her a ring which he claims was given to him by the King and will secure her protection from the King’s forces. Rodrigo, who has overheard the conversation, attempts to have his soldiers kill the stranger, but Elena intercedes. Rodrigo vows to duel with “Uberto” himself.


Meanwhile, Malcolm has left the battle in the hopes of finding Elena, but is informed she has followed her father to Stirling Palace to seek peace. Rodrigo is reported to have been killed and the Higlanders now face certain defeat. Malcolm declares that he will save Elena or face his own death. Elena enters the castle, determined to save the lives of her father, Malcolm, and Rodrigo. Using the ring she given to her by “Uberto” she gains access to the King’s chambers.


Elena is surprised to see nobles surrounding “Uberto,” who soon reveals his true identity. His feelings for her soften his attitude towards her father, and he pardons both Duglas and Malcolm. Elena and Malcolm are finally united, and all rejoice as a new peace reigns in Scotland.





Cavalleria Rusticana/Pagliacci



Mascagni's                                     Leoncavallo's

Cavalleria Rusticana        Pagliacci



April 25, 2015  Saturday at 12:30pm Tickets



ENCORE:  May 6, 2015  Wednesday at 6:30pm  Tickets




Opera’s most enduring tragic double bill returns in an evocative new production from Sir David McVicar, who sets the action across two time periods but in the same Sicilian village. Marcelo Álvarez rises to the challenge of playing the dual tenor roles of Turiddu in Cavalleria Rusticana and Canio in Pagliacci. Rae Smith (War Horse) has designed the moodily atmospheric 1900 village square setting of Cavalleria, which transforms to a 1948 truck stop for the doomed vaudeville troupe of Pagliacci. Eva-Maria Westbroek (Cav) and Patricia Racette (Pag) sing the unlucky heroines, and Met Principal Conductor Fabio Luisi is on the podium.



Libretto by Giovanni Targioni-Tozzetti and Guido Menasci, based on a story and play by Giovanni Verga

World premiere: Rome, Teatro Costanzi, May 17, 1890

 Live in HD transmission and radio broadcast April 25, 2015


 A village in southern Italy. At dawn on Easter Sunday, Turiddu is heard in the distance singing about Lola, wife of the carter Alfio. She and Turiddu had been a couple before he went to join the army. When he returned and found her married to Alfio, he took up with Santuzza and seduced her, but now has abandoned her and rekindled his relationship with Lola. Later in the morning, a distraught Santuzza approaches the tavern of Mamma Lucia, Turiddu’s mother, who tells her that her son is away buying wine. But Santuzza knows that Turiddu has been seen during the night in the village. Alfio arrives with a group of men, boasting of his horses—and of Lola. He asks Mamma Lucia if she has any more of her good wine. When she says that Turiddu has gone to get more, Alfio replies that he saw the other man near his house that same morning. Lucia is surprised but Santuzza tells her to keep quiet. As the villagers follow the procession to church, Santuzza stays behind and pours out her grief about Turiddu to Mamma Lucia. The old woman expresses her pity, then also leaves for mass. Turiddu appears and is confronted by Santuzza about his affair with Lola but denies her accusations. Just then Lola passes by on her way to church. She mocks Santuzza, and Turiddu turns to follow her, but Santuzza begs him to stay and implores him not to abandon her. Turiddu refuses to listen and leaves, cursed by Santuzza. Alfio arrives, late for mass. Santuzza tells him that Lola went to church with Turiddu and reveals that his wife has been cheating on him. In a rage, Alfio swears to get even and rushes off, leaving behind the now conscience-stricken Santuzza.


Returning from the church the villagers gather at Mamma Lucia’s tavern. Turiddu leads them in a drinking song, but the atmosphere becomes tense when Alfio appears. He refuses Turiddu’s offer of wine and instead challenges him to a knife fight. Turiddu admits his guilt but is determined to go through with the fight, for Santuzza’s sake as well as for his honor. The two men agree to meet outside the village. Alone with his mother, Turiddu begs her to take care of Santuzza if he doesn’t come back, then runs off to the fight. As Mamma Lucia waits anxiously, shouts are heard in the distance. A woman runs in screaming that Turiddu has been killed.




Libretto by the composer

World premiere: Milan, Teatro dal Verme, May 21, 1892

 Live in HD transmission and radio broadcast April 25, 2015



Tonio the clown announces that what the audience is about to see is a true story and that actors have the same joys and sorrows as other people.


Act I

A village in southern Italy. A small theatrical company has just arrived and Canio, the head of the troupe, advertises the night’s performance to the gathered crowd. One of the villagers suggests that Tonio is secretly courting Canio’s young wife, Nedda. Canio warns them all that he will not tolerate any flirting offstage—life and theater are not the same. As the crowd disperses, Nedda is left alone, disturbed by her husband’s jealousy. She looks up to the sky, envying the birds their freedom. Tonio appears and tries to force himself on her but she beats him back and he retreats, swearing revenge. In fact, Nedda does have a lover—Silvio, a young peasant, who suddenly appears. The two reaffirm their love and Silvio persuades Nedda to run away with him that night. Tonio, who has returned and overheard the end of their conversation, hurries off to alert Canio, but Silvio manages to slip away unrecognized. Canio violently threatens Nedda but she refuses to reveal her lover’s name. Beppe, another member of the troupe, restrains Canio, and Tonio advises him to wait until the evening’s performance to catch the culprit. Alone, Canio gives in to his despair—he must play the clown even though his heart is breaking.


Act II

That evening, the villagers assemble to watch the performance, Silvio among them. Beppe plays Harlequin, who serenades Columbine, played by Nedda. He dismisses her buffoonish servant Taddeo, played by Tonio, and over dinner the two lovers plot to poison Columbine’s husband Pagliaccio, played by Canio. When Pagliaccio unexpectedly appears, Harlequin slips away. Taddeo maliciously assures Pagliaccio of his wife’s innocence, which ignites Canio’s jealousy. Forgetting his role and the play, he demands that Nedda tell him the name of her lover. She tries to continue with the performance, the audience enthralled by its realism, until Canio snaps. In a fit of rage he stabs Nedda and then Silvio, who rushes to her aid. Turning to the horrified crowd, Canio announces that the comedy is over.




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