"Die Fledermaus" or "L'Elisir d'Amore" at The Metropolitan Opera on January 4–21 (Up to $36 Off)

Metropolitan Opera

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In a Nutshell

The Met's world-class performers kick off the New Year with comic operas by Strauss and Donzetti

The Fine Print

Expiration varies. Limit 8 per person. Valid only for option purchased. Redeem starting day of show for a ticket at venue box office. Must show valid ID matching name on Groupon at Metropolitan Opera. Refundable only on day of purchase. Must redeem together to sit together. Discount reflects Metropolitan Opera's current ticket prices-price may differ on day of the event. Doors open 1 hour before showtime. For ADA seating, call box office promptly upon receipt of voucher - availability is limited. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

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The Deal

  • One ticket to see Die Fledermaus or L’Elisir d’Amore (The Elixir of Love), including a warm beverage and a brownie dessert
  • Where: The Metropolitan Opera
  • Door time: one hour before showtime
  • Ticket values include all fees.<p>

Seating Options

  • $90 for Balcony Prime section (up to $116 value)
  • $100 for Orchestra Rear section (up to $126 value)
  • $125 for Orchestra Balance section (up to $161 value)
  • Click here to view the seating chart.<p>

Die Fledermaus (January 4, 7, and 15)

Although sentenced to eight days in jail for insulting an official, Eisenstein has better things to do. His friend Falke shows up with an invitation to a ball, jump-starting a series of mistaken identities and amorous escapades that entwines not only Eisenstein, but also his wife and his wife’s secret lover. Yet amid the confusion, things are not as they seem. The ball itself turns out to be part of a grand revenge plot against Eisenstein that was cooked up by Falke himself and includes nearly everyone Eisenstein knows. The fast-moving, light-hearted tale keeps audiences enthralled with twists, turns, and Strauss’s rollicking score. Acclaimed director Jeremy Sams (The Enchanted Forest) puts a new spin on the classic with a revised libretto by celebrated playwright Douglas Carter Beane and leading performances from Met luminaries Susanna Phillips and Christopher Maltman.

L’Elisir d’Amore (January 13, 17, and 21)

Nemorino is in love. Unfortunately, the focus of his affection, Adina, has declared that she’d prefer to have a different lover every day. But then she falls head-over-heels for a handsome soldier, who courts her boastfully in public and drives Nemorino mad. In his desperation, the romantic takes a disreputable magician’s bait and purchases an elixir of love—but the potion doesn’t work exactly as intended. Nemorino suddenly seems aloof to Adina, who was so used to his desire that his seeming indifference annoys her and forces her to question her heart. Anna Netrebko returns to once again fill Adina’s shoes, and tenor Ramón Vargas captures the drama and romance of Nemorino’s celebrated aria, Una furtiva lagrima.<p>

The Metropolitan Opera

Founded smack-dab in the middle of Chester A. Arthur’s presidency, The Metropolitan Opera has been a vibrant cultural center for more than 130 years. The Met’s accomplished conductors, performers, and composers form a who’s who of opera—Arturo Toscanini and Gustav Mahler are among them—and they’ve premiered some of history’s most remarkable works, including those by Wagner and Puccini. The current music director, James Levine, has steered the ship since 1976, witnessing not only the birth of groundbreaking works by Philip Glass and Tobias Picker, but also the rise of Fruit Roll Ups and the creation of new opera fans across the country. In 1977, a televised performance of La Bohème reached more than four million people, leading to regular broadcasts and HD screenings in movie theaters.

Since 1966, the Met’s performers have sent their voices soaring in one of the world’s most stunning opera houses, designed by architect Wallace K. Harrison. Past the lobby’s two towering Marc Chagall paintings, twinkling Viennese chandeliers light the way to nearly 4,000 seats. There, the auditorium’s timeless design blends seamlessly with technology: on each seat back, a small screen displays simultaneous translation through the company’s unique Met Titles system, granting audiences the chance to follow the libretto in English, Spanish, or German.


The Gist

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