The Met: Live in HD supported financially by the Foundation of the Arts and Music in Asia, a Hong Kong-registered charity.
Met Stars Live in Concert - Renee Fleming / Jonas Kaufmann
The best two for one musical deal!
Two of operas greatest artists star in back-to-back recitals from the Metropolitan Opera’s Met Stars Live in Concert series. Beloved American diva Renée Fleming performs an intimate concert from the historic Dumbarton Oaks estate in Washington, D.C., recorded live in August 2020 and superstar tenor Jonas Kaufmann gives a thrilling recital of popular arias from the Polling Abbey in Bavaria, recorded live in July 2020.
The programme will be two hours without intermission.
Lucia di Lammermoor
“Natalie Dessay was the production’s first Lucia when the production was new in 2007 and she returns to reclaim it.” – Classical Review. If you want to see superb acting and superb singing this is the definitive Lucia. Sadly now retired from the operatic stage, Natalie Dessay reminds us here of why she was a true star.
The Merry Widow
In an art nouveau setting, Lehar’s enchanting operetta brings colour, zest and the cancan to our screens. Renee Fleming stars as the beguiling femme fatale with a fortune. Broadway favourite Kelly O’Hara sparkles as Valencienne (remember her in Cosi?). The sets are a joy to behold, especially the amazing transition to the legendary Maxim’s where everything is on offer and nothing seems forbidden.
This is a triumph for Sondra Radvanosky, the last of the three Tudor Queens she played in one season. Queen Elizabeth is forced to sign the death warrant of the man she loves, Roberto Devereux, sung by Matthew Polenzani.The production is by the brilliant Sir David McVicar. “Searing, a triumph,” cry the critics. And so it is. “The applause and bravos for the soprano Sondra Radvanovsky were so frenzied at the end of Donizetti’s “Roberto Devereux” at the Metropolitan Opera on Thursday night that she looked overwhelmed, almost a little frightened. The audience members knew, it seemed, that they had just witnessed an emotionally vulnerable and vocally daring performance, a milestone in the career of an essential artist.” - NYTimes
The darling Joyce DiDonato and rock star handsome Juan Diego Florez are alone the reason to watch this fairytale but Rossini’s beautiful music will enchant you. The production is whimsical, the action physically comic and the performances truly stellar. No fairy Godmother but a philosophic godfather instead reminds us that this is not a traditional Cinderella.
Here’s the story of a poet whose death launched clusters of copycats in the 18th Century. Unrequited love and a longing for what can never be leads Jonas Kaufmann as Werther to his poignant end. Richard Eyre’s sets are wonderful and the final hovering claustrophobic study becomes the place for Werther’s surprisingly graphic suicide. Sophie Koch is a matchless Charlotte, the object of Werther’s obsession. One reviewer pointed out that in a more modern era this would be termed a stalker’s opera.
Would you sell your soul to the devil for an extra 24 years of life?Perhaps if the extra years could be spent listening to Jonas Kaufmann! Des McAnuff’s thrilling 2011 production places the mythical and timeless story in an early 20th-century setting. René Pape as Méphistophélès is menacing and elegant in equal measure, and Marina Poplavskaya delivers a searingly intense portrayal of the innocent Marguerite. Russell Braun as her brother, Valentin, shines in his Act II aria. On the podium, Yannick Nézet-Séguin brings out all the lyricism and drama of Gounod’s score.
A production of gilt and red damask, hauntingly beautiful music and a fitting farewell to Renee Fleming’s portrayal of this role. Renee Fleming is the Marschallin and Elina Garanca the young Octavian with whom she is having an affair. “Wearing a fur coat, her hair all golden locks, Ms. Fleming’s Marschallin looks glamorous, yet clearly wounded. She sings the arching melodic line that begins Strauss’s transcendent trio with seamless phrasing and ethereal sound, her more mature voice blending poignantly with the youthful colorings of Ms. Morley and Ms. Garanca.” - NYTimes
Here’s the story of a woman who simply wants everything, love and money - the original Material Girl, Manon has been sent away to join a convent, her family having seen the beginnings of her wayward nature. She escapes this fate and allows her sensual nature full rein, only to die impoverished and disgraced.
Here’s a masterpiece, hypnotic and ritualistic. It will be like nothing you have ever seen before. The star counter-tenor Anthony Roth Costanzo is the legendary Pharaoh who transformed Ancient Egypt. Phelim McDermott’s goal is to create a theatrical experience that is beyond words, plot and conventional storytelling. Operawire calls it: “The Best Met Production of the Year.”
The Gershwin’s Porgy and Bess
Director James Robinson’s stylish production transports audiences to Catfish Row, a setting vibrant with the music, dancing, emotion, and heartbreak of its inhabitants. It’s a tapestry of sound and movement with George Gershwin’s lush score underpinning the lyrics of his brother, Ira Gershwin and the libretto of DuBose Heyward. The ensemble work has an energy rarely seen in the musical theatre. Quite amazing!
Handel’s tale of intrigue and impropriety in ancient Rome receives its first Met performances, with star mezzo-soprano Joyce DiDonato as the controlling, power-hungry Agrippina and Harry Bicket conducting. Sir David McVicar’s production ingeniously reframes the action of this black comedy about the abuse of power to “the present,” where it should loudly resonate. Prepared to be shocked! What a great family this is! Mum, married to her uncle (yes) whom she will eventually poison with mushrooms, working hard to promote her own crazy son to the throne after which he will have her clubbed to death. Fortunately Handel ends his opera at a point where the ascension is guaranteed.
Our new season includes four Met premieres,
six works in brand new productions,
and stellar revivals featuring the world's leading artists
The series will be seen in more than 70 countries across the world in 2021 - 2022
After a turbulent year of 2020, The Metropolitan Opera of New York (The Met) will be reopening on September 27, 2021 with the Met premiere of Terence Blanchard’s Fire Shut Up in My Bones. For 2021 – 22 season, the Met will be returning with an ambitious line up, comprising Met premieres of three contemporary operas, breaking the record for the number of new operas to premiere in a single season since 1928 – 29; six brand new productions including new works and all-time classics. In addition, the Met also offers an abridged, English-language holiday presentation of Cinderella, adapted from Laurent Pelly’s 2018 production of Massenet’s Cendrillon. All of these exciting new works, together with spectacular revivals, will be available as part of The Met: Live in HD 2021 – 22 season globally.
“The future of the Met relies upon it being artistically as powerful as ever, if not more so,” The Met’s General Manager Peter Gelb commented in an interview. “The artistic experiences have to be better than ever before to attract audiences back.” The Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin said, “I am extremely excited about the plans for 2021–22 and cannot wait for the chance to reunite with the great Met Orchestra and Chorus, which will be showing new sides of their extraordinary artistry.”
Foundation for the Arts and Music in Asia (FAMA) is delighted to present The Met: Live in HD 2021 – 22 season in Hong Kong. Local screening details to be announced.
Met Premiere / First Met: Live in HD appearance
Six Grammy Award jazz composer-trumpeter Terence Blanchard’s Fire Shut Up in My Bones will be opening the 2021 – 22 season, marking the first time an opera by an African American composer appears on the Met stage. Adapted from the memoir of New York Times journalist Charles Blow, Fire Shut Up in My Bones looks into a defining moment of Blow’s life and how it leads up to deep discussions of sexual identity and masculinity throughout Blow’s youth. James Robinson and Camille A. Brown from The Met’s 2019 – 20 season Grammy Award winning Porgy and Bess will be co-directing this production. Baritone Will Liverman sings as Charles. The cast is also joined by Angel Blue and Latonia Moore. The Met’s Music Director Yannick Nézet-Séguin conducts this new work. The opera received positive reviews when it premiered in 2019. The New York Times described it as “bold and affecting”, while Wall Street Journal described it as “searing” and “remarkable”.
Met Premiere / First Met: Live in HD appearance
Commissioned by the Met, young rising American composer Matthew Aucoin join hands with Pulitzer Prize and Tony Award nominee Sarah Ruhl in adapting her well-received play Eurydice into an opera. The opera Eurydice reimagine the classic Greek myth of Orpheus, who travels to the underworld to save his wife, but from Eurydice’s perspective. The story focuses on coming to terms with grief and loss. The Met’s Music director Yannick Nézet-Séguin conducts, while Mary Zimmerman directs this mesmerizing production. Erin Morley sings the titled heroine, with Joshua Hopkins as Orpheus and Jakub Józef Orliński as his alter-ego. Eurydice was highly praised when it premiered at Los Angeles in 2020. Los Angeles Times praised the production as “refined and elegant”, while Bachtrack described it is “moving”, “unique”, and “captivating”.
Rigoletto, Verdi’s ever popular story of vengeance and sacrifice, is staged in a new production by Tony Award winner Bartlett Sher, who sets the action in 1920s Europe, complete with Art Deco sets and elegant costumes. Verdi baritone Quinn Kelsey sings the titled jester, whose portrayal has been highly praised by The Observer as “superb” and by The Guardian as “dramatically intense”. Rosa Feola sings the innocent daughter Gilda, and Piotr Beczała reprises one of his signature roles as the Duke of Mantua.
Met Premiere / First Met: Live in HD appearance
For the first time in the Met’s history, Verdi’s Don Carlos, a story of forbidden love and political conflicts, is performed in its original French version. Sir David McVicar directs the new staging, praised by Operawire as “brilliant” when it was performed in Europe, taking the audiences back to the time of the Spanish Inquisition. Met Music Director Yannick Nézet-Séguin leads an all star cast, including Matthew Polenzani singing the titled prince, Sonya Yoncheva as his lover Élisabeth de Valois, Elīna Garanča as Eboli, Günther Groissböck as Philippe II of Spain.
After enrapturing the Met audiences with her Gilda (from Rigoletto) and Susanna (from Le Nozze di Figaro), soprano Nadine Sierra takes up the title role of Lucia di Lammermoor, one of the most dramatically challenging operas in the repertoire. Praised by Operawire as “a legend in the making”, Sierra’s portrayal of the innocent girl who goes mad should be unmissable. Singing her lover Edgardo, Javier Camarena promises a performance full of bel canto fireworks. The cast is also joined by Artur Ruciński as Enrico. This brand new staging is directed by young in-demand Australian theater and film director Simon Stone.
Met Premiere / First Met: Live in HD appearance
Australian composer Brett Dean captivated the audiences when he presented his take on the classic Shakespearean tragedy Hamlet at Glyndebourne Festival in 2017. The Guardian claimed that “New opera doesn’t often get to sound this good … but Dean’s Hamlet rises to the challenge”, while Financial Times described it as “edgy and haunting”. The original director of the premiere, Neil Armfield, is bringing this riveting opera to the Met, together with most of the exciting original cast members. Allan Clayton reprises his highly praised portrayal of Hamlet, with Brenda Rae as Ophelia, Sarah Connolly as Gertrude, Rod Gilfry as Claudius, and Sir John Tomlinson as the ghost of Hamlet’s father.
In an abridged version with English translation, Massenet’s adaptation of the classic Cinderella story is the Met’s latest installment in its series of family friendly abridged operas. Isabel Leonard sings the role of Cinderella, with young rising star Emily D’Angelo as Prince Charming, Jessica Pratt as the Fairy Godmother, Stephanie Blythe reprises her role as the wicked stepmother, and Laurent Naouri sings Pandolfe, Cinderella’s father. This performance will be presented in Laurent Pelly’s storybook staging, which was praised as “delightful” by The New York Times, and “luminous” by The Observer when it first premiered in 2017 – 18 season.
Considered to be Mussorgsky’s masterpiece and the greatest representation of Russian operas, Boris Godunov returns to the Met stage in Stephen Wadsworth’s poignant production, with Sebastian Weigle conducting the score in its original 1869 version. One of the best interpreters of Boris Godunov, bass René Pape, will reprise the title role. Back in 2010, Pape’s performance of the emotionally tortured Tsar thrilled critics and audiences alike. The New York Times described him as “ideal for the role” and Bachtrack praised his portrayal which “stands on a par with the great Shakespearean performances”.
First Met: Live in HD appearance
Strauss’s intriguing “opera within an opera” Ariadne auf Naxos will be making its first Met: Live in HD appearance in Elijah Moshinsky’s imaginative production. Young rising star Lise Davidsen sings the titled Greek heroine after achieving a triumph with the role in Europe, her performances being hailed as “gleaming and electric” (The Guardian) and “thrilling” (Bachtrack). Brenda Rae is Zerbinetta, Brandon Jovanovich is the god Bacchus who falls in love with Ariadne, and Isabel Leonard is the Composer. Marek Janowski conducts.
Franco Zeffirelli’s classic production of Turandot with its luxurious costumes and glamourous stage settings make it one of the most amazing spectacles for the audiences. In this performance, operatic superstar Anna Netrebko is making her anticipated Met role debut as the icy princess, after giving an “imposing” and “exciting” performance back in the Met’s 2019 New Year’s Eve Gala, as praised by Operawire and The New York Times. The cast is joined by Yonghoon Lee sings the role of Calàf, Ermonela Jaho as Liù, and Ferruccio Furlanetto as Timur. Marco Armiliato conducts.
The coronavirus pandemic has had overwhelming economic implications for the MET and its ability to continue to bring you incomparable performances. As a result, the MET is asking you to join its urgent fundraising campaign by making a contribution today. Members of the MET’s Board have generously pledged significant contributions to establish this campaign and the MET hopes you will join them. Your gift will make a critical difference as the MET navigates the challenging months ahead.
With your support, the MET looks forward to coming back stronger than ever.
For more details or to make a donation: CLICK HERE