Met Opera will present Bellini and Donizetti, 19th-century Italian. Bellini was a poet of melody, writing long, flowing lines over a restrained orchestra to express emotion and psychology to the fullest. La sonnambula (The Sleepwalker) exemplifies his style, where the melody drives the story and conveys lyricism and psychological depth. Donizetti, by contrast, was prolific across comedy and tragedy, blending melodic beauty with dramatic development and insight, condensing the flow of the story into the music. In La fille du régiment (The Daughter of the Regiment), he skillfully uses coloratura, choruses, and modulations to vividly depict comedic situations and romantic conflicts, merging melody and drama. After savoring Bellini’s poetic melodies, audiences can enjoy the theatrical drama that Donizetti created a decade later.

Even you rely on laws and rules for your protection, yet establish your freedom at the expense of others, this opera is for you. Because you will see yourself reflected in the human nature that Mozart portrays. Conductor Yannick brings difficult classical music to life in an accessible, discovery-filled way, revealing your treasure. Director Hove drives a wedge into your hardened heart, using the interplay of power and redemption to enhance the music. Now, let us go witness the filth of humanity that thrives in every age.

The Met’s 2025–26 must-sees: Tchaikovsky’s Onegin with a world-renowned diva, Wagner’s Tristan under Yannick and Sharon’s new staging, Strauss’ poignant Arabella, Saariaho’s contemporary Innocence, and a fresh production of Mozart’s Don Giovanni.

Now, the Metropolitan Opera is getting in the best shape after James Levine - New excellent principals, outstanding ensembles and solos even in the tutti, rich and precise tuttis, extensive connections to all top artists, and curious audiences (new and old) in the house. The conditions are about time. The lineup for the rest of this season through 2025 is as follows:

The opera follows Prejean’s introduction to the world of capital punishment, portraying the moral complexity and inner lives of its characters rather than debating the issue directly. Heggie’s score uses an American musical vernacular to reflect character and conflict. Sister Helen is written for a lyric mezzo-soprano, expressing both grounded realism and idealism, while Joseph De Rocher evolves from a hardened criminal to reveal vulnerability and humanity. Mrs. De Rocher’s role conveys deep pathos. Ambient elements—including car radio songs, Elvis-style rock, and an original hymn—enhance the drama, with their impact shifting depending on the context and performers.