Events under 'Metropolitan Opera'
Wednesday, February 22, 2017

Met Opera HDLive LogoThe Metropolitan Opera, commonly referred to as the "Met", is a company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The company is operated by the non-profit Metropolitan Opera Association.

The Metropolitan Opera is the largest classical music organization in North America. It presents about 27 different operas each year in a season which lasts from late September through May. The operas are presented in a rotating repertory schedule with up to seven performances of four different works staged each week.

 

Event Name

Date

Rusalka - Met Opera Live in HD

February 25, 2017 Casting

Conductor Mark Elder

Rusalka Kristine Opolais

Foreign Princess Katarina Dalayman

Ježibaba Jamie Barton

Prince Brandon Jovanovich

Water Sprite Eric Owens

Act 1 The water nymph Rusalka has fallen in love with a human—the Prince—when he came to swim in her lake. Now she wants to become human herself and live on land to be with him. Rusalka’s father, the Water Sprite, is horrified and tells her that humans are evil and full of sin. When Rusalka insists, claiming they are full of love, he says she will have to get help from the witch Ježibaba. Rusalka calls on the moon to tell the Prince of her love. Ježibaba arrives and agrees to turn Rusalka into a human—but warns her that if she doesn’t find love she will be damned and the man she loves will die. Also, by becoming mortal, she will lose her power of speech. Convinced that her feelings for the Prince can overcome all spells, Rusalka agrees and Ježibaba gives her a potion to drink. As dawn breaks, the Prince appears with a hunting party and finds Rusalka by the lake. Even though she won’t speak to him, he is captivated by her beauty and leads her away to his castle. From the lake, the voices of the Water Sprite and the other water nymphs are heard, mourning the loss of Rusalka.

Act 2 At the Prince’s castle, the Gamekeeper and the Kitchen Boy talk about the approaching wedding of the Prince and his strange new bride, whose name nobody knows. The Prince enters with Rusalka. He wonders why she is so cold toward him but remains determined to win her. A Foreign Princess, who has come for the wedding, mocks Rusalka’s silence and reproaches the Prince for ignoring his guests. The Prince sends Rusalka away to dress for the ball and escorts the Princess into the castle for the beginning of the festivities.In the deserted garden, the Water Sprite appears from the pool. Rusalka, who has become more and more intimidated by her surroundings, rushes from the castle in tears. Suddenly recovering her voice, she begs her father to help her, telling him that the Prince no longer loves her. The Prince and the Princess come into the garden, and the Prince confesses his love for her. When Rusalka intervenes, rushing into his arms, he rejects her. The Water Sprite warns the Prince of the fate that awaits him, then disappears into the pool with Rusalka. The Prince asks the Princess for help but she ridicules him and tells him to follow his bride into hell.

Act 3 Rusalka waits by the lake once again, lamenting her fate. Ježibaba appears and mocks her, then hands her a knife and explains that there is a way to save herself: she must kill the Prince. Rusalka refuses, throwing the weapon into the water. When her sisters reject her as well, she sinks into the lake in despair. The Gamekeeper and the Kitchen Boy arrive to ask Ježibaba for help. The Prince, they say, has been bewitched by a strange wood girl he was going to marry. Enraged, the Water Sprite rises from the lake, saying that it was the Prince who deceived Rusalka. Terrified by the supernatural sight, the two run away. The wood nymphs enter, singing and dancing, but when the Water Gnome explains to them what has happened to Rusalka, they fall silent and disappear.The Prince, desperate and half crazy with remorse, emerges from the forest, looking for Rusalka and calling out for her to return to him. She appears from the water, reproaching him for his infidelity, and explains that now a kiss from her would kill him. Accepting his destiny, he asks her to kiss him to give him peace. She does, and he dies in her arms. Rusalka asks for mercy on his soul and disappears into the water. - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Rusalka/#sthash.u1q7I4K0.dpuf

Saturday, February 25, 2017 1:00 pm - 4:35 pm
This event does not repeat

La Traviata Met Opera Live in HD

Composer Giuseppe Verdi Librettist Francesco Maria Piave - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/La-Traviata/#sthash.XtzdTrqY.dpuf
March 11, 2017 Casting
Conductor Nicola Luisotti
Violetta Valéry Sonya Yoncheva
Alfredo Germont Michael Fabiano Giorgio
Germont Thomas Hampson -
 
Act I Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love. She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love. There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved.
 
Act II Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society. When Alfredo discovers that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage. But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him. But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.
 
Act III Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, Germont has told his son about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late. The sound of rampant celebrations are heard outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills her with a final euphoria. Her energy and exuberant joy of life return. All sorrow and suffering seem to have left her—a final illusion, before death claims her. - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/La-Traviata/#sthash.XtzdTrqY.dpuf
Saturday, March 11, 2017 1:00 pm - 3:33 pm
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Idomeneo Met Opera Live in HD

March 25, 2017 Casting
Conductor James Levine
Ilia Nadine Sierra
Elettra Elza van den Heever
Idamante Alice Coote
Idomeneo Matthew Polenzani
Arbace Alan Opie
 
 
Intro The opera is set in Crete, about 1200 BC. Helen, the wife of King Menelaus of Greece, has been carried off by Paris, son of King Priam of Troy, triggering the Trojan War. As she is also the sister-in-law of Agamemnon, several Greek kings allied with him have joined forces to lay siege to the city of Troy. One of these kings is Idomeneo (Idomeneus) of Crete. Having been away for many years, Idomeneo has, prior to his victorious return, sent ahead of him some Trojan captives, including Priam’s daughter, the princess Ilia. On her arrival in Crete she is rescued from a storm by Idomeneo’s young son, Idamante, who has ruled as regent in his father’s absence. The two have fallen in love. Princess Elettra, daughter of Agamemnon and Clytemnestra, also loves Idamante. After Elettra and her brother, Oreste, killed their mother and her lover, she was forced to flee their home in Argos and has taken refuge in Crete.
 
Act I Ilia is torn between her growing love for Idamante and her hatred for his father, who is an enemy of her country. Idamante, whose father’s return is expected soon, proclaims his love for her and begs her not to condemn him for the actions of his father. But Ilia, still a prisoner, cannot yet bring herself to declare her love for him. Idamante announces that as a gesture of goodwill the Trojan prisoners will be released. The king’s advisor, Arbace, brings the news that the returning fleet was shipwrecked in a storm and that Idomeneo has drowned. Princess Elettra is disturbed that the prisoners have been freed; worse still, her jealousy over Idamante’s love for Ilia is growing stronger.On the coast, sailors make their way ashore in the storm, begging the gods to show mercy. As the sea calms, Idomeneo appears. He has not drowned, as had been reported, but has been saved by Neptune, god of the sea, after vowing to sacrifice to him the first man that he comes across. That man turns out to be his own son, Idamante, who has come to the shore seeking solitude after hearing of his father’s death. Idomeneo is horrified that he must kill his son, and at first he does not reveal his identity. He finally does so, but Idamante—knowing nothing of the promise to Neptune—does not understand why his father pushes him away so harshly. The Cretans, meanwhile, praise Neptune for the return of their king.
 
Act II Idomeneo seeks counsel from Arbace as to how he might save Idamante from sacrifice. They agree to banish him from the island: he should escort Elettra back to Argos, where she can regain the throne. They will find another way to appease Neptune. Arbace assures the king of his loyalty. Ilia tells Idomeneo how happy she is that he has been saved. She also praises his son, and tells Idomeneo that she now considers Crete a kind of homeland. Idomeneo begins to suspect that she is in love with Idamante, and it dawns on him that all three of them will be victims of the gods. Only Elettra, who has heard that Idamante is to escort her back to Argos, is happy: she sees that she might win his heart once she has gotten him away from her rival.By the harbor, Elettra and the people of Crete praise the calm seas as she prepares to leave. Idomeneo dismisses his son. Idamante (who still knows nothing of his father’s promise to Neptune) is heartbroken at such treatment, but he prepares to leave with Elettra. Before they can set sail, though, another storm arises and a sea monster appears. Idomeneo confesses that it was he who has caused the god’s displeasure by breaking his vow, but he will not sacrifice an innocent victim. The people run from the monster.
 
Act III Ilia hopes that the wind will carry her message of love to Idamante. When he arrives to say that he is going to fight the sea monster, she finally admits her love directly. Idomeneo and Elettra find them together, and Idomeneo (still unable to reveal his reasons) commands again that his son leave Crete. Idamante resolves to do so, and they each express their individual sorrows. Arbace reports that the people are demanding that the king deliver them from the monster and laments that Crete has become full of sadness.The High Priest of Neptune describes the destruction and death caused by the monster and demands that Idomeneo name the victim who must be sacrificed to appease Neptune. The king announces that the victim is his son, Idamante. The people are wracked with grief. The king and the priests prepare for the forthcoming sacrifice but are interrupted by news that Idamante has killed the monster. Idamante at last understands why his father has been cold to him: out of love, not hatred. He demands that the sacrifice proceed, as this is the price for peace in Crete. Ilia volunteers to take his place. But as Idomeneo is about to sacrifice his son, the voice of Neptune is heard proclaiming that if Idomeneo will step aside and yield the throne to Idamante and Ilia, the gods will be satisfied. Everyone rejoices except Elettra, who is horrified at the prospect of her beloved in the arms of her rival.Idomeneo agrees to give up the throne to appease Neptune and pronounces his blessing on the union of his son with the Trojan princess. The people celebrate the happy couple. - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Idomeneo/#sthash.LRNGzNgB.dpuf
Saturday, March 25, 2017 1:00 pm - 4:58 pm
This event does not repeat

Eugene Onegin Met Opera Live in HD

Composer Pyotr Tchaikovsky
Librettist Konstantin Shilovsky
Peter Ilyich Tchaikovsky -
 
April 22, 2017 Casting
Conductor Robin Ticciati
Tatiana Anna Netrebko Olga Elena Maximova Lenski Alexey Dolgov Onegin Dmitri Hvorostovsky Gremin Štefan Kocán - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Eugene-Onegin/#sthash.RfsLq7nN.dpuf
 

Act I

Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love.

Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning.

Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence.

Act II

January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up.

Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed.

Act III

St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. 

Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

- See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Eugene-Onegin/#sthash.RfsLq7nN.dpuf
Saturday, April 22, 2017 1:00 pm - 4:37 pm
This event does not repeat

Der Rosenkavalier Met Opera Live in HD

Composer Richard Strauss

Librettist Hugo von Hofmannstal -

See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Der-Rosenkavalier/#sthash.MZjXZuSS.dpuf

May 13, 2017 Casting
Conductor Sebastian Weigle
Marschallin Renée Fleming
Octavian Elīna Garanča 
Sophie Erin Morley
A Singer Matthew Polenzani
Faninal Marcus Brück
Act I Vienna, during the last years of the Habsburg Empire. The Marschallin, Princess von Werdenberg, has spent the night with her young lover, Octavian, Count Rofrano. He hides when a page brings breakfast, then again when loud voices are heard in the antechamber. The unexpected visitor is the Marschallin’s country cousin, Baron Ochs auf Lerchenau. Bursting into the room, he brags about his amorous conquests and his upcoming marriage to Sophie von Faninal, the young daughter of a wealthy bourgeois. When he asks the Marschallin for advice as to which cavalier could present Sophie with the traditional silver engagement rose, she suggests Octavian—who suddenly, to avoid discovery, emerges from his hiding place disguised as a chambermaid. The baron instantly starts to make advances towards “Mariandel,” who quickly makes her escape as the room fills with the daily crowd of petitioners and salespeople. Among them is a singer, whose aria is cut short by Ochs’s wrangling with a lawyer over Sophie’s dowry. The Baron hires a pair of Italian intriguers, Annina and Valzacchi, to locate the shy servant girl.When the room is cleared, the Marschallin, appalled by the thought of the rude Ochs marrying the innocent young girl, muses on her own waning youth. The returning Octavian is surprised to find her in a distant and melancholy mood. He passionately declares his love but she can only think about the passing of time and tells him that one day he will leave her for a younger woman. Hurt, he rushes off. The Marschallin tries to call him back, but it is too late. She summons her page and sends Octavian the silver rose.
 
Act II On the morning of her engagement, Sophie excitedly awaits the arrival of the cavalier of the rose. Octavian enters and presents her with the silver rose on behalf of the Baron. Sophie accepts, enraptured, and the two young people feel an instant attraction to each other. When Ochs, whom Sophie has never met, arrives, the girl is shocked by his crude manners. Ochs goes off to discuss the wedding contract with Faninal, and Sophie asks Octavian for help. They end up embracing and are surprised by Annina and Valzacchi, who summon Ochs. The outraged Octavian grazes the Baron’s arm with his rapier and Ochs melodramatically calls for a doctor. In the ensuing confusion, Sophie tells her father that she will not marry the Baron, while Octavian enlists Annina and Valzacchi to participate in an intrigue he is hatching. When Ochs is alone, nursing his wound with a glass of wine, Annina, sent by Octavian, appears with a letter from “Mariandel,” asking Ochs to a rendezvous. Intoxicated with his own charm, the Baron is delighted at the prospect of a tête-à-tête. When he refuses to tip Annina, she determines to get even.
 
Act III At Octavian’s instigation, Annina and Valzacchi prepare the back room of a dingy inn for Ochs’s rendezvous. Before long, the Baron and “Mariandel” arrive for a private supper. As she coyly leads him on, grotesque apparitions pop out of windows and secret panels, terrifying the Baron. Annina, disguised as a widow, runs in crying that Ochs is the father of her many children. When the police appear, Ochs claims that “Mariandel” is his fiancée. The arriving Faninal, furious at his future son-in-law’s behavior, summons Sophie to set matters straight, then faints and is carried off. At the height of the confusion, the Marschallin enters. Octavian takes off his disguise and the Marschallin explains to Ochs that it was all a farce. He finally admits defeat and leaves, pursued by the innkeeper and various other people who all demand payment of their bills. Left alone with Octavian and Sophie, the Marschallin laments that she must lose her lover so soon, but nevertheless accepts the truth. She gives the bewildered Octavian to Sophie and quietly leaves the room. The young lovers realize that their dream has come true. - See more at: http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Der-Rosenkavalier/#sthash.MZjXZuSS.dpuf
 
Saturday, May 13, 2017 12:30 pm - 5:02 pm
This event does not repeat