SPECIAL PROGRAM
The MET: Live in HD
Ariadne auf Naxos (The MET)
199 Minutes
Composer: Richard Strauss
Conductor: Marek Janowski
The exhilarating soprano Lise Davidsen makes her Live in HD debut in one of her signature roles, the mythological Greek heroine of Strauss’s enchanting masterpiece. The outstanding cast for this performance also features mezzo-soprano Isabel Leonard as the Composer of the opera-within-an-opera around which the plot revolves, with soprano Brenda Rae as the spirited Zerbinetta and tenor Brandon Jovanovich as Ariadne’s lover, the god Bacchus. Marek Janowski conducts.
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Conductor: Marek Janowski
The exhilarating soprano Lise Davidsen makes her Live in HD debut in one of her signature roles, the mythological Greek heroine of Strauss’s enchanting masterpiece. The outstanding cast for this performance also features mezzo-soprano Isabel Leonard as the Composer of the opera-within-an-opera around which the plot revolves, with soprano Brenda Rae as the spirited Zerbinetta and tenor Brandon Jovanovich as Ariadne’s lover, the god Bacchus. Marek Janowski conducts.
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Boris Godunov (The MET)
157 Minutes
Composer: Modest Mussorgsky
Conductor: Sebastian Weigle
Bass René Pape, the world’s reigning Boris, reprises his overwhelming portrayal of the tortured tsar caught between grasping ambition and crippling paranoia, kicking off the Live in HD 2021-22 season. Conductor Sebastian Weigle leads Mussorgsky’s masterwork, a pillar of the Russian repertoire, in its original 1869 version. Stephen Wadsworth’s affecting production poignantly captures the hope and suffering of the Russian people as well as the tsar himself.
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Conductor: Sebastian Weigle
Bass René Pape, the world’s reigning Boris, reprises his overwhelming portrayal of the tortured tsar caught between grasping ambition and crippling paranoia, kicking off the Live in HD 2021-22 season. Conductor Sebastian Weigle leads Mussorgsky’s masterwork, a pillar of the Russian repertoire, in its original 1869 version. Stephen Wadsworth’s affecting production poignantly captures the hope and suffering of the Russian people as well as the tsar himself.
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Fire Shut Up in My Bones(The MET)
210 Minutes
Composer: Terence Blanchard
Conductor: Yannick Nézet-Séguin
Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.” The first opera by a Black composer presented on the Met stage and featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship. James Robinson and Camille A. Brown—two of the creators of the Met’s sensational recent production of Porgy and Bess—co-direct this new staging. Baritone Will Liverman, one of opera’s most exciting young artists, stars as Charles, alongside sopranos Angel Blue as Destiny/Loneliness/Greta and Latonia Moore as Billie.
*Content Advisory: addresses adult themes and contains some adult language.
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Conductor: Yannick Nézet-Séguin
Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.” The first opera by a Black composer presented on the Met stage and featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship. James Robinson and Camille A. Brown—two of the creators of the Met’s sensational recent production of Porgy and Bess—co-direct this new staging. Baritone Will Liverman, one of opera’s most exciting young artists, stars as Charles, alongside sopranos Angel Blue as Destiny/Loneliness/Greta and Latonia Moore as Billie.
*Content Advisory: addresses adult themes and contains some adult language.
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Hamlet (The MET)
229 Minutes
Composer: Brett Dean
Conductor: Nicholas Carter
When Australian composer Brett Dean’s Hamlet had its world premiere at the Glyndebourne Festival in 2017, The Guardian declared, “New opera doesn’t often get to sound this good … Shakespeare offers a gauntlet to composers that shouldn’t always be picked up, but Dean’s Hamlet rises to the challenge.” This riveting contemporary masterpiece appears live in cinemas, with Neil Armfield, who directed the work’s premiere, bringing his acclaimed staging to the Met stage. Many of the original cast members have followed, including tenor Allan Clayton in the title role. Nicholas Carter makes his Met debut conducting a remarkable ensemble, which also features soprano Brenda Rae as Ophelia, mezzo-soprano Sarah Connolly as Gertrude, baritone Rod Gilfry as Claudius, and legendary bass John Tomlinson as the ghost of Hamlet’s father.
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Conductor: Nicholas Carter
When Australian composer Brett Dean’s Hamlet had its world premiere at the Glyndebourne Festival in 2017, The Guardian declared, “New opera doesn’t often get to sound this good … Shakespeare offers a gauntlet to composers that shouldn’t always be picked up, but Dean’s Hamlet rises to the challenge.” This riveting contemporary masterpiece appears live in cinemas, with Neil Armfield, who directed the work’s premiere, bringing his acclaimed staging to the Met stage. Many of the original cast members have followed, including tenor Allan Clayton in the title role. Nicholas Carter makes his Met debut conducting a remarkable ensemble, which also features soprano Brenda Rae as Ophelia, mezzo-soprano Sarah Connolly as Gertrude, baritone Rod Gilfry as Claudius, and legendary bass John Tomlinson as the ghost of Hamlet’s father.
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Lucia di Lammermoor (The MET)
239 Minutes
Composer: Gaetano Donizetti
Conductor: Riccardo Frizza
Soprano Nadine Sierra takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Lucia di Lammermoor, in an electrifying new staging by in-demand Australian theater and film director Simon Stone, conducted by Riccardo Frizza. Show-stopping tenor Javier Camarena adds to the bel canto fireworks as Lucia’s beloved, Edgardo, with baritone Artur Ruci?ski as her overbearing brother, Enrico, and bass Matthew Rose as her tutor, Raimondo.
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Conductor: Riccardo Frizza
Soprano Nadine Sierra takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Lucia di Lammermoor, in an electrifying new staging by in-demand Australian theater and film director Simon Stone, conducted by Riccardo Frizza. Show-stopping tenor Javier Camarena adds to the bel canto fireworks as Lucia’s beloved, Edgardo, with baritone Artur Ruci?ski as her overbearing brother, Enrico, and bass Matthew Rose as her tutor, Raimondo.
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Turandot (The MET)
221 Minutes
Composer: Giacomo Puccini
Conductor: Marco Armiliato
Ukrainian soprano Liudmyla Monastyrska stars in the title role of the legendary cold-hearted princess —seen live in cinemas. Tenor Yonghoon Lee is the bold prince determined to win Turandot’s love, alongside soprano Ermonela Jaho as the devoted servant Liù legendary bass Ferruccio Furlanetto as the blind king Timur. Marco Armiliato conducts Puccini’s stirring score.
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Conductor: Marco Armiliato
Ukrainian soprano Liudmyla Monastyrska stars in the title role of the legendary cold-hearted princess —seen live in cinemas. Tenor Yonghoon Lee is the bold prince determined to win Turandot’s love, alongside soprano Ermonela Jaho as the devoted servant Liù legendary bass Ferruccio Furlanetto as the blind king Timur. Marco Armiliato conducts Puccini’s stirring score.
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Critics’ Choice 2022—Shapes of Water
Of the natural elements, water is the most protean and mutable: it can be a solid, liquid, or gas, embodying stillness just as much as it does movement, energy, and animation. Its sheer physical properties make water particularly amenable to filming through motion pictures rather than still photography, even as its practical applications as a necessity in daily life and cultural meaning as an abstract symbol rich in signification have allowed water to become one of cinema's most inexhaustible subjects, providing a source of artistic and creative inspiration that has given rise to the most varied forms of cinematic treatment and imagery.
Of the natural elements, water is the most protean and mutable: it can be a solid, liquid, or gas, embodying stillness just as much as it does movement, energy, and animation. Its sheer physical properties make water particularly amenable to filming through motion pictures rather than still photography, even as its practical applications as a necessity in daily life and cultural meaning as an abstract symbol rich in signification have allowed water to become one of cinema's most inexhaustible subjects, providing a source of artistic and creative inspiration that has given rise to the most varied forms of cinematic treatment and imagery.
Man of Aran Critics Choice 2022
73 Minutes
Dubbed the last true Italian neorealism film, La Terra Trema was filmed on location in Sicily with real local fishermen as actors. A snapshot of the locals’ lives in their home environment, the film tells the story of ‘Ntoni, an island man who returns to his island after serving in the army. Tired of being exploited by wholesalers, ‘Ntoni convinces his family to mortgage the family home to buy a boat so they can sell their fishes in the city directly and escape their economic pinch. Visconti not only uses the film to capture the fishermen’s impoverished lives; he also uses the challenges that ‘Ntoni’s family encounters and the wholesalers’ acts of oppression to convey the generational poverty the fishermen are trapped in. Matching the natural approach with the non-professional cast’s realistic performances, the film meticulously presents the realities of the characters and their lives. The result leaves a far deeper impact on audiences than a melodramatic interpretation of the subject
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The Pearl Button Critics Choice 2022
82 Minutes
Dubbed the last true Italian neorealism film, La Terra Trema was filmed on location in Sicily with real local fishermen as actors. A snapshot of the locals’ lives in their home environment, the film tells the story of ‘Ntoni, an island man who returns to his island after serving in the army. Tired of being exploited by wholesalers, ‘Ntoni convinces his family to mortgage the family home to buy a boat so they can sell their fishes in the city directly and escape their economic pinch. Visconti not only uses the film to capture the fishermen’s impoverished lives; he also uses the challenges that ‘Ntoni’s family encounters and the wholesalers’ acts of oppression to convey the generational poverty the fishermen are trapped in. Matching the natural approach with the non-professional cast’s realistic performances, the film meticulously presents the realities of the characters and their lives. The result leaves a far deeper impact on audiences than a melodramatic interpretation of the subject
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Minamata: The Victims and Their World Critics Choice 2022
120 Minutes
Dubbed the last true Italian neorealism film, La Terra Trema was filmed on location in Sicily with real local fishermen as actors. A snapshot of the locals’ lives in their home environment, the film tells the story of ‘Ntoni, an island man who returns to his island after serving in the army. Tired of being exploited by wholesalers, ‘Ntoni convinces his family to mortgage the family home to buy a boat so they can sell their fishes in the city directly and escape their economic pinch. Visconti not only uses the film to capture the fishermen’s impoverished lives; he also uses the challenges that ‘Ntoni’s family encounters and the wholesalers’ acts of oppression to convey the generational poverty the fishermen are trapped in. Matching the natural approach with the non-professional cast’s realistic performances, the film meticulously presents the realities of the characters and their lives. The result leaves a far deeper impact on audiences than a melodramatic interpretation of the subject
Trailer
Trailer