The Metropolitan Opera performs works from Verdi, Tchaikovsky, Bartók, and Mozart
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- Seating: orchestra balance or balcony
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- What’s included: a glass of sparkling wine
The Metropolitan Opera
- Iolanta: Iolanta is a princess, and was born without her sight—but she doesn’t know either of these facts. In Tchaikovsky’s final lyric opera, this sheltered heroine slowly comes to realize both while falling madly in love with the friend of her betrothed. Amid heartfelt arias such as “Who Can Compare with My Mathilde?” and “Two Worlds,” this opera brims with love, determination, and loyalty.
- Bluebeard’s Castle: Bluebeard gives his new wife two simple instructions (“love me” and “ask no questions”), but her curiosity leads her to uncover a monstrous secret which will bound her to him forever.
- Iolanta and Bluebeard’s Castle will be performed together. Iolanta, Tchaikovsky’s final opera was commissioned by St. Petersburg’s Imperial Theatres as part of a double bill with a new ballet—which became The Nutcracker. Although Iolanta, unlike its companion piece, has remained relatively unknown outside of Russia, it is prime operatic Tchaikovsky and overdue for discovery by the world at large. Bluebeard’s Castle is Bartók’s only opera and is an intense psychological journey, a powerful drama of inner emotion, and a tour de force for two singers (and the orchestra). In it, the bride Judith prods Bluebeard to open seven doors, each of which reveals an aspect of Bluebeard’s life, material possessions, and, by extension, his mind.
- Rigoletto: Giuseppe Verdi’s dark story of love and betrayal has a new backdrop: Las Vegas. The tale about the womanizing Duke of Mantua, his hunchbacked jester Rigoletto, and Rigoletto’s daughter Gilda unfolds in 1960 amidst the glitter and flash of Sin City while maintaining its heart-wrenching overtones and iconic arias that have made it one of Verdi’s most popular pieces.
- Don Giovanni: A ladykiller like no other, Don Giovanni aims to add the women of Seville to his 2,000 conquests, starting with the inconveniently engaged Donna Anna. But when the rake is discovered sneaking into her bedroom, he ends up killing Donna Anna’s father, the Commendatore, in a duel. This murder sets off a series of escalating disasters that may have greater repercussions than just a continent-spanning trail of broken hearts.
Need To Know
About 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. Canadian-born conductor Yannick Nézet-Séguin became the Met’s Jeanette Lerman-Neubauer Music Director with the beginning of the 2018–19 season, during which he conducts a new production of Verdi’s La Traviata, revivals of Debussy’s Pelléas et Mélisande and Poulenc’s Dialogues des Carmélites, and concerts with the Met Orchestra at Carnegie Hall.
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, Italian, or German.