The Metropolitan Opera is a vibrant home for the most creative and talented singers, conductors, composers, musicians, stage directors, designers, visual artists, choreographers, and dancers from around the world. 

Experience The Metropolitan Opera Live in HD here at the Peterborough Players.
 
The 25/26 Season has 8 Operas in total,  a mix of familiar favorites and incredible new work. 

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Arts on Screen Shows Operas 25/26

The Amazing Adventures of Kavalier and Clay

Saturday, January 31st at 1 pm
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In this exhilarating new adaptation of Michael Chabon’s Pulitzer Prize–winning novel, set shortly before the outbreak of the Second World War, two Jewish cousins invent an anti-fascist superhero and launch their own comic-book series, hoping to recruit America into the fight against Nazism.

Incorporating scintillating electronic elements and a variety of musical styles, composer Mason Bates’s eclectic score moves seamlessly among the three worlds of Gene Scheer’s libretto: Nazi-occupied Prague, the bustling streets of New York City, and the technicolor realm of comic-book fantasy. Bartlett Sher’s production provides spectacular visuals to match, with towering sets and proscenium-filling projections designed by Jenny Melville and Mark Grimmer of 59 Studio.

Baritone Andrzej Filończyk makes his Met debut as the artist Joe Kavalier, who flees Czechoslovakia and arrives at the Brooklyn doorstep of writer Sam Clay, sung by tenor Miles Mykkanen.

Saturday, March 21st, 2026, 12 pm
Tristan und Isolde (Wagner) 

After years of anticipation, a truly unmissable event arrives as the electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death.

Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. The momentous occasion also marks the advent of a new, Met-debut staging by Yuval Sharon—hailed by The New York Times as “the most visionary opera director of his generation” and the first American to direct an opera at the famed Wagner festival in Bayreuth—as well as Music Director Yannick Nézet-Séguin’s first time leading Tristan und Isolde at the Met.

Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in  Wagner’s Der Fliegende Holländer 
and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

​Volumes have been written about the influential score of Tristan und Isolde. The music is built on the idea of a great yearning, irresistible and self-perpetuating, that cannot be fulfilled in this life. The prelude sweeps the listener into an ecstatic yet tortuous world of longing, and the vocal parts are of unique stature. The opera culminates in Isolde’s famous final aria, “Mild und leise,” with a final octave leap that concludes this unique musical-dramatic journey.

​This opera is sung in German and has a running time of 4 hours and 50 minutes and includes 3 intermissions.

Saturday, May 2nd, 2026, 1 pm
Eugene Onegin (Tchaikovsky)

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This opera is sung in Russian and has a running time of 3 hours and 45 minutes and includes 2 intermissions. ​
Following her acclaimed 2024 company debut in Puccini’s Madama Butterfly, soprano Asmik Grigorian returns to the Met as Tatiana, the lovestruck young heroine in this ardent operatic adaptation of Pushkin. Baritone Igor Golovatenko reprises his portrayal of the urbane Onegin, who realizes his affection for her all too late. The Met’s evocative production, directed by Tony Award–winner Deborah Warner, “offers a beautifully detailed reading of … Tchaikovsky’s lyrical romance” (The Telegraph).

Tchaikovsky’s universally beloved melodic gifts are at their most powerful and multilayered in this opera, featuring rich ensembles, buoyant dance numbers, and some of the most striking vocal solos in the repertory

Tchaikovsky’s many moods—tender, grand, melancholy—are all given free rein in Eugene Onegin. The opera is based on Pushkin’s iconic verse novel, which reimagines the Byronic romantic anti-hero as the definitive bored Russian aristocrat caught between convention and ennui; Tchaikovsky, similarly, took Western European operatic forms and transformed them into an authentic and undeniably Russian work.

​At the core of the opera is the young girl Tatiana, who grows from a sentimental adolescent into a complete woman in one of the operatic stage’s most convincing character developments.​

Saturday, May 30th, 2026, 1 pm 
El Último Sueño de Frida y Diego 
Composed by Gabriela Lena Frank and Libretto by Nilo Cruz

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz.

Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell.

Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

This opera is sung in Spanish and has a running time of 2 hours and 25 minutes and includes 1 intermission. ​

Past Operas in the 2025/26 Season

 Saturday, October 18th 2025, 1 pm
La Sonnambula (Bellini)

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 This operatic gem from one of the great masters of melody is a benchmark of extraordinary vocalism. The title role of the sleepwalking girl was composed for the greatest diva of the day, Giuditta Pasta (for whom Bellini also wrote the tragic role of Norma). The part requires a rare combination of innocence, charm, and breathtaking vocal virtuosity. Deeper than a comedy, but in no way a tragedy, La Sonnambula reaches its conclusion through genuine, poignant character development, rather than by intrigue or farce. 

Following triumphant Met turns in Roméo et Juliette, 
La Traviata, and Lucia di Lammermoor, Nadine Sierra summits another peak of the soprano repertoire as Amina, who sleepwalks her way into audiences’ hearts in Bellini’s poignant tale of love lost and found.

​In his new production, Rolando Villazón—the tenor who has embarked on a brilliant second career as a director—retains the opera’s original setting in the Swiss Alps but uses its somnambulant plot to explore the emotional and psychological valleys of the mind.

Tenor Xabier Anduaga returns after his acclaimed 2023 Met debut in L’Elisir d’Amore, co-starring as Amina’s fiancé Elvino, alongside soprano Sydney Mancasola as her rival, Lisa, and bass Alexander Vinogradov as Count Rodolfo. Riccardo Frizza takes the podium for one of opera’s most ravishing works.

This opera is sung in Italian and has a running time of 2 hours and 45 minutes and includes 1 intermission.

Saturday, November 8th, 1 pm
​La Bohème (Puccini)

World premiere: Teatro Regio, Turin, 1896. La Bohème, the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera. It has a marvelous ability to make a powerful first impression and to reveal unsuspected treasures after dozens of hearings.

​At first glance, La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection, it reveals the deep emotional significance hidden in the trivial things—a bonnet, an old overcoat, a chance meeting with a neighbor—that make up our everyday lives.

​With its enchanting setting and spellbinding score, the world’s most popular opera is as timeless as it is heartbreaking. Franco Zeffirelli’s picture-perfect production brings 19th-century Paris to the Met stage as Puccini’s young friends and lovers navigate the joy and struggle of bohemian life.

​Sopranos Juliana Grigoryan, Angel Blue, and Aleksandra Kurzak trade off as the feeble seamstress Mimì, opposite tenors Freddie De Tommaso, Stephen Costello, Adam Smith, and Long Long as the ardent poet Rodolfo.

​This opera is sung in Italian and has a running time of 3 hours and 5 minutes and includes 2 intermissions.

Saturday, November 22nd, 1 pm
Arabella (Strauss)

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World premiere: Staatsoper, Dresden, 1933. The romantic comedy Arabella was the final collaboration of Richard Strauss and his great librettist Hugo von Hofmannsthal. While certain elements of operatic farce are present, there is great elegance about the work, and its characters’ journeys are moving and affecting in their own way. The title character—honest, pure, well-meaning—is one of opera’s most appealing and believable characters.

Strauss’s elegant romance brings the glamour and enchantment of 19th-century Vienna to the Met stage in a sumptuous production by legendary director Otto Schenk that “is as beautiful as one could hope” (The New York Times). Soprano Rachel Willis-Sørensen makes her role debut as the title heroine, a young noblewoman in search of love on her own terms. Radiant soprano Louise Alder makes her Met debut as her sister, Zdenka, and bass-baritone Tomasz Konieczny is the dashing count who sweeps Arabella off her feet.

Strauss’s most exalted domains—his writing for the soprano voice and for the orchestra—are magnificently apparent throughout the score.

​This opera is sung in German and has a running time of 3 hours and 50 minutes and includes 2 intermissions.

Saturday, December 13th, 1 pm
Andrea Chénier (Giordano)

Giordano’s passionate tragedy stars tenor Piotr Beczała as the virtuous poet who falls victim to the intrigue and violence of the French Revolution.

​Following their celebrated recent partnership in Giordano’s Fedora, Beczała reunites with soprano Sonya Yoncheva as Chénier’s aristocratic lover, Maddalena di Coigny, with baritone Igor Golovatenko as Carlo Gérard, the agent of the Reign of Terror who seals their fates.

Daniele Rustioni, the Met’s newly named Principal Guest Conductor, conducts Andrea Chénier’s lush and stirring score to lead Nicolas Joël’s gripping staging.

The opera is set in Paris amid the drama and turmoil of the French Revolution. By focusing on individuals caught up in a wildly dramatic moment in history, it manages to be both human and epic in scope.

​This opera is sung in Italian and has a running time of 3 hours and 10 minutes and includes 2 intermissions.

Saturday, January 10th, 2026, 1 pm
I Puritani (Bellini)

For gorgeous melody, spellbinding coloratura, and virtuoso vocal fireworks, I Puritani has few equals.

On New Year’s Eve, the curtain goes up on the first new Met production of Bellini’s final masterpiece in nearly 50 years—a striking staging by Charles Edwards, who makes his company directorial debut after many successes as a set designer.

​The Met has assembled a world-beating quartet of stars, conducted by Marco Armiliato, for the demanding principal roles. Soprano Lisette Oropesa and tenor Lawrence Brownlee are Elvira and Arturo, brought together by love and torn apart by the political rifts of the English Civil War, with baritone Artur Ruciński as Riccardo, betrothed to Elvira against her will, and bass-baritone Christian Van Horn as Elvira’s sympathetic uncle, Giorgio.

​World premiere: Théâtre Italien, Paris, 1835. I Puritani was the final work from Vincenzo Bellini, the great Sicilian exponent of the bel canto style of opera. It was written specifically for the talents of four of the best singers of its day, and the opera’s success depends almost entirely on the vocal abilities (and artistic sensibilities) of the performers.

​Its depiction of madness—both in individuals and in communities—is extraordinary: The opera suggests that the veneer of sanity can slip away at any moment, that madness can plunge a person into a destructive abyss.​

​This opera is sung in Italian and has a running time of 3 hours and 20 minutes and includes 1 intermission.